The Jeweller Magazine July/ 2010 Issue by Zest Europe

the

Jeweller July 2010

£6.50

Colour confidence – coloured stones still in vogue Christmas gift ideas Young designer stars of the future The Jeweller is produced in conjunction with the British Jewellers’ Association

The Voice of The Industry

Contents |

the

Jeweller The Voice of The Industry

C O N T E N T S

www.thejewellermagazine.com

J U L Y

Future Stars

1 0

CommuniquĂŠ

Editorâ&#x20AC;&#x2122;s Letter

Industry News

NAG News

Member of the Month

BJA News

Jeweller Picks

BJA Advice

It may only be July but already members of the

BJA Q&A

BJA are planning ahead to the Yuletide season

Opinion: John Henn

and have plenty of festive gift ideas

Antique Jeweller

Insurance Matters

IRV Review

Education & Training

Appointments

Display Cabinet

The Last Word

We pick the designer names to watch and the top trends for the year ahead

Christmas is Coming

Colour Confidence

Big, bright and beautiful gems of every hue are still in demand, reports Jo Young

Ruby Bluesday

Jack Ogden highlights the tricks of the

The Jeweller is published by CUBE Publishing on behalf of the National Association of Goldsmiths for circulation to members. For further information about The Jeweller please visit: www.thejewellermagazine.com The magazine is printed on paper and board that has met acceptable environmental accreditation standards.

gemstone trade

Cover Image In conjunction with bastian inverun To be a stockist contact us by email or visit our website. Email: info@bastian-inverun.com Web: www.bastian-inverun.com

The National Association

CUBE Publishing

of Goldsmiths

Sales Director: Ian Francis Tel: 020 7833 5500 ian@cube-uk.com

78a Luke Street, London EC2A 4XG Tel: 020 7613 4445 www.jewellers-online.org Editor: Belinda Morris Tel: 01692 538007 bmorris@colony.co.uk BJA Marketing & PR Manager Lindsey Straughton

Or call our customer service: Mrs Emilia Weidner Tel: 00 49 421 3385 590 Email: eweidner@bastian-inverun.com

lindsey.straughton@bja.org.uk Tel: 0121 237 1110

Art Director: Ben Page ben@cube-uk.com Publisher: Neil Oakford neil@cube-uk.com Contributors: David Callaghan, John Henn, Jonathan Lambert, Neil McFarlane, Christopher Milton Stevens, Jack Ogden, Jo Young

Although every effort is made to ensure that the information supplied is accurate, the N.A.G. disclaims and/or does not accept liability for any loss, damage or claim whatsoever that may result from the information given. Information and ideas are for guidance only and members should always consult their own professional advisers. The publisher accepts no responsibility for any advertiser, advertisement or insert in The Jeweller. Anyone having dealings with any advertiser must rely on their own enquiries.

The Voice of the Industry 3

| Comment

Communiqué M I C H A E L

H O A R E ’ S

Michael Hoare ponders the possible effects of the Budget on jewellers, dares to hum a copyright tune and welcomes the NAG’s new chairman.

Known Unknowns riting as I am in the run-up to the emergency budget on 22nd June, I am conscious of the intense feeling of anticipation in the air and the questions that are on everyone’s lips. What measures will the Chancellor announce? What effect will they have on the administration of my business? Will I pay more tax? Will my customers be worse off, and if so will they want to spend money with me? By the time you read this column you will know the answers to most of these questions, except perhaps the last one. The effects of the Chancellor’s measures may take a little while to affect spending habits, but in the meantime there is a sense of unreality among jewellers – that things haven’t so far been as bad as they could be, given the uncertain times we inhabit. A kind of fatalism prevails, and the most often repeated refrain is ‘it could be worse’. Realistically though, we know that whatever buoyancy there is in the market is due in some measure to the bead and charm phenomenon, and ‘cash for gold’. Perversely, the gold price – which has the potential to dampen jewellery demand – has fuelled a consumer rush to cash in, and given jewellers a sales opportunity to boot.

4 The Jeweller July 2010

In highly commoditised sectors there are two principle areas that retailers can flex to increase turnover – price and relationship. The assumption is that we are in for a period of heavy price cutting, but in a competitive world that can only lead one way. Would jewellers be better served by concentrating on product over price? Will niche stories be the next big thing? If I had a crystal ball I’d tell you, but right now I think we will have to content ourselves by quoting former US Defense Secretary Donald Rumsfeld’s statement about the increasingly unstable situation in Afghanistan, “there are known knowns. These are things we know that we know. There are known unknowns. That is to say, there are things that we know we don’t know. But there are also unknown unknowns. There are things we don’t know we don’t know.”

I’ll Name that Tune… s I am sure you all know, under the Copyright, Designs and Patents Act 1988, if you use copyright music in public (i.e. outside of the home) you are required to have two separate licenses; one from Public Performance License (PPL), and one from Performing Right Society (PRS). PPL is the music licensing company which, on behalf of 42,000 performers and 5,000 record companies, licenses the use of recorded music in the UK – the license fees are collected and distributed as royalties to performers and record companies. PRS is a not-for-profit membership organisation which collects license fees from music users, and distributes these as royalties to writers and publishers of music. Retailers can of course avoid having to obtain both licenses by playing royalty-free music. I only mention this because Mike McGraw’s EDF members were discussing this very topic recently, and when one wag

A Michael at the NAG AGM 2010

But underlying the short term sales boost are expensive inventories as the price of re-stocking increases. In the calm before the storm it is worth reflecting on the underlying drivers. The gold price story still has some mileage in it and derivatives of the bead and charm category will pick up some of the slack as the first wave of enthusiasm inevitably wanes, but what next? Will the next trend be gold plated silver? At the moment most sales are driven by self gratification, but as money becomes tighter, will the traditional drivers of weddings, anniversaries, and christenings return to prominence? Will we see a ‘return to basics’?

Comment | said something like “Blimey, what about if you inadvertently whistle or hum a well-known tune in the shop – is that covered too?” I thought I’d find out more. A quick Google revealed that there is more to this subject than meets the eye. Apparently, even ‘on hold’ music – played to infuriate you while you wait for a call centre to condescend to answer you – needs a licence. But not if the composer has been dead for more than seventy years and is therefore out of copyright! Unless, of course, the work was recorded and released within the last fifty years, when you’ll need a PPL licence. So if it comes to classics you’d better know the difference between Tchaikovsky, who died in 1893, and Shostakovich who passed away in 1975. Come to think of it, unless you really know your classics, humming a medley from the former is probably the only safe way of avoiding a fine. Let’s hope the Government’s red tape boys put this right at the top of their list!

Members on Top ongratulations must go to Retail Jeweller magazine for publishing its excellent recent survey of the top thirty most inspiring independent retail jewellers in the UK. Apart from being a beautifully produced booklet with some great images that will inspire other jewellers, the publication represented a goodly slice of NAG membership. I counted twenty among the thirty judged to be best by their peers, but of course all our members are winners in my book!

Hello, Goodbye ast month we said a fond farewell to our ‘old’ chairman, Frank Wood, and offered a hearty welcome to our ‘new’ chairman Nicholas Major. Now I’ve seen a few chairmen – or should that be chairpersons – come and go in my time, and each one brings energy, enthusiasm, and a new set of objectives to the role. Frank was no exception, and every speech marking his departure to the ‘front benches’ extolled his dedication to the task. But, it is true to say, there has been one other remarkable feature of the Wood chairmanship, and that was his dramatic conversion to golf. Thus it was only appropriate that the farewells should have taken place at one of the temples of the English game – Wentworth. Hardly surprising also that almost every speech lauding Frank’s achievements drank deeply from the well of golfing metaphors to describe his qualities. So much so that Nicholas Major also appeared affected by the same malady when in his vision statement he likened the NAG’s role to that of a caddie that has “kept its members out of the rough and on the fairway”. At the risk of stretching a metaphor too far I offer you the following from Huxtable Pippey, “Real golfers, no matter what the provocation, never strike a caddie with the driver. The sand wedge is far more effective.” Enough said?

The Voice of the Industry 5

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Comment | This month:

Editor’s

Letter

“Interest in design in general has finally permeated into the mainstream jewellery retailers, who are realising that they need to modernise their offer to the public…”

o, we now have a new chairman at the NAG – welcome to the top table Nicholas Major!

It was quite a Pretty Woman moment at the NAG last month as Frank Wood – outgoing

incumbent of the post – carefully, almost romantically, placed the impressive chain of office over his successor’s shoulders. He even took the trouble to make a slight adjustment to how the piece was sitting a little later on in the meeting. Sweet. Or perhaps you had to be a woman to appreciate that little nuance? Actually, Frank was just being an exacting jeweller – making sure the statement necklace he was handing over was placed just so for maximum comfort and impact. And talking of bold adornment it was there in spades at London Jewellery Week last month – along with

Page 24

the delicate and fine, the quirky, the innovative, the bright and the beautiful. After a shaky start earlier in the year – thanks Coutts – and a Herculean effort on the part of the organisers, partners and participants to pull all the strands together, the result was impressively ebullient, jam-packed and, crucially, successful. A walk around the Treasure exhibition, which was just one element of the week’s events, proved – should proof be needed – what a wealth of design and retailing talent we have in this country. For the jewellery-loving consumer, discovering this Aladdin’s cave of… well, treasure, must have been a ‘died-and-gone-to-heaven’ moment. While for me, I simply wished I was buying for my own shop and not just there to make notes! Not only did the week offer the buying public a chance to discover in depth London’s

“There is a wider public interest in the jewellery industry especially with people wanting coloured stones and feeling more confident about wearing them.”

great jewellery-making heritage; it also gave up-and-coming designer-makers much needed exposure to the industry as well as consumers. On page 24 we explore the jewellery trade’s attitude to emerging talent and reveal the names to watch. If you snooze you lose!

If you would like to comment on any of the issues raised in this edition of The Jeweller or any other trade-related matters please email the editor at: bmorris@colony.co.uk

Page 34

The Voice of the Industry 7

| Industry News

A successful LJW plans for 2011

Revellers at the Leblas in-shop party

espite having, effectively, three months to turn the event around – Coutts having pulled out of the sponsorship at the eleventh hour – the organisers of London Jewellery Week have had “an overwhelmingly positive response” to the event and a date has already been set for LJW 2011: 6th-12th June. In all, over 120 jewellers, retailers and institions held receptions, seminars, workshops, fashion shows, exhibitions, collection launches, consultations and demonstrations to promote London’s jewellery trade. “It’s too early to determine LJW’s impact in terms of jewellers’ revenue, but there was no mistaking the buzz,” says LJW’s co-director Della Tinsley. “I am slightly overwhelmed by the support and hard work everyone has put in to what was initially seen as a transitional year. But it looked stylish, fresh and most importantly busy! I do love it when people leave a show like Treasure and say see you next year!” she adds. “There are things we can do more effectively and we are looking at that right now so that we can plan for 2011. The challenge now is to build on that energy and sign up partners as soon as possible, so we can surpass this year’s success.” Another co-director Jayant Raniga, brand manager of PureJewels, Green Street, is also encouraged by the “very positive” feedback he has received since the week. “Key industry

8 The Jeweller July 2010

people are now willing to be part of an ambassadorial committee – a non-executive steering group – for next year,” he says. “The way to move forward is definitely to involve more people in the industry, who have to participate at full force in order for 2011 to have the same boost. This time around a lot of people were sitting on the fence – although in fairness, it was very short notice for many retailers to get involved.” A key focus of the week was the Hatton Garden Festival which drew around 5,000 people to the world-renowned jewellery quarter to see open-air jewellery demonstrations, visit jewellery retailers on the street, listen to music and sip Champagne Lanson. “We showed the public what jewellery skills are all about,” explains Barry Jacobs of

PureJewels Platinum Heritage collection launch

Jacobs Jewellery. “The marquee was full of different companies, showing different aspects of the trade, including ring makers, setters, polishers, lapidary, a silversmith, engravers, laser machine specialist, cad cam and designers. We produced hand-made rings and silver spoons on the day giving the public a chance to win these fantastic prizes, with all proceeds going to Holts Academy, which is bringing young people back into our trade. Our thanks and appreciation goes out to Mr Lee Lucas of Holts, who made the day possible and has now put the Hatton Garden Festival as a must see event on the London calendar,” he adds. About 5,000 people also visited Treasure, the contemporary jewellery exhibition, which was opened by Jonathan Simpson, Mayor of Camden, who commented that the event helped London Jewellery Week to become on a par with the internationally-recognised London Fashion Week. “In addition to good sales, I made important contacts with media, galleries and collectors,” says Ute Decker who exhibited in the ethical Essence sector of the show. Genevieve Beddard of Swarovski, which had an Atelier Swarovski pop-up shop at Treasure, after a launch event for its new collections, felt that participating at LJW was certainly worth the effort, as it has raised brand awareness and provided an ideal opportunity to network as well as support the industry. The media attention as well as public awareness that the company’s involvement generated was a particular bonus. As well as having a stand at Treasure, the designer-owners of ethical jewellery brand Leblas also (like many other jewellers) held a party in their own shop. “The week was excellent,” says PR assistant Nina Tukaj. “This is the second year we have participated and this [event] was a much greater success. The organisation and awareness was better and we definitely want to be involved next year. The shop increased sales by 20 per cent – a great result for a hot summer month!” Sarah Hutchinson, manager of Platform Jewellery in Hatton Garden (which opened in June last year) was also extremely happy with the shop’s participation in the event. “The sales were better than ever and we hope the success of jewellery week will spill into the coming months,” she says. “We are already making plans to be included next year.”

Industry News |

Commemorative designs celebrate first hallmark struck at the WB Group commemorative platinum and diamond pendant designed by Manoj Parmar was the first piece of jewellery to be hallmarked at the WB Group’s recently opened Sub-Assay Office. The piece which won an in-house design competition for staff, will be kept – together with designs from three runners up – in the Group’s archive as souvenirs of this historic occasion. “We wanted all our staff to be involved in this exciting new initiative so we threw a competition open to the entire workforce asking them to come up with a commemorative piece, and were absolutely delighted with the results,” explains Domino’s sales director, Andrew Sollitt.

The brief was to design an item of jewellery that would commemorate the opening of the Sub-Assay Office while also representing the growth of the WB Group and its ongoing development. Manoj who is a sales administrator for Domino (one of the two companies – which with sister company Weston Beamor – comprise the WB Group) based his winning pendant design on the iconic Anchor, the hallmark of Birmingham Assay Office. The diamond-set ribbon wrapped around the anchor represents the close and on-going relationship that binds the WB Group to the

Birmingham Assay Office which will staff and operate the Sub-Office from the Group’s premises in the heart of Birmingham’s Jewellery Quarter. So where did Parmar, who is normally to be found at the end of the telephone line, get his obvious talent for design? “I did actually study at the School of Jewellery in Birmingham and have an HND in Jewellery and Silversmithing, so it is something I have done before; that said I was stunned and really delighted to win,” says Parmar. “I love design and hope to be able to do more. I guess you could say I’m a frustrated designer.” A love of design clearly permeates the Domino workforce as the designs produced by Parmar’s colleagues Claudie Barratt, Shavinder Dhanoa and Lorraine Nelson, all of whom are also in the sales team, demonstrated. “The standard was so high that we decided we would also make up Claudie’s ring and Shavinder’s and Lorraine’s pendants and keep all four designs as part of our company’s rich and developing history,” says Sollitt. Having the Sub-Assay Office is a tremendous additional facility for The WB Group and means that there is no longer the need to move jewellery to and from Birmingham Assay Office in order to have the hallmark applied. “In these troubled times, the security benefits are a real bonus and while I hesitate to promise our customers a faster delivery, there is no doubt that having our own Sub Office will also simplify and facilitate our production processes,” says the WB Group’s MD, Andrew Morton.

S N I P P E T S Simon Carter celebrates silver jubilee this autumn Menswear, accessories and men’s jewellery and watch designer Simon Carter is celebrating twenty five years in business this autumn with the launch of a Silver Jubilee collection of limited edition cufflinks and watches. The quirky character of Carter’s pieces is evident: aviation motif cufflinks and highly stylised rectangular-face watches with rubber straps. Having trained initially in medicine, Carter began his fashion career selling pewter brooches up and down London's King’s Road. Today his collections sell in 40 countries across the world.

Watch brand teams up with celebs for charity Obaku Harmony by Ingersoll has asked a number of British celebrities – Jade Jagger, Jo Wood, Yasmin le Bon and Sadie Frost among them – to create a watch dial design, in support of a global initiative to help refugees. For every Obaku-Refugee watch sold, 20 USD will be donated to the charity Refugees United. Launched in 2007, the Obaku collection focuses on simple design and a fusion of European and Asian cultural references. The watches retail for between £75 - £170. CIBJO to participate in world expo CSR event The United Nations Institute for Training and Research (UNITAR) has invited the World Jewellery Confederation (CIBJO) to assume a key role in a Corporate Social Responsibility programme at the Shangahi World Expo this September. The invitation was issued on the final day of the first Executive Course in CSR organised by CIBJO last month. CIBJO will share the experience of the jewellery sector over the past decade in meeting ethical and social challenges, and then developing a strategy by which the industry could raise its involvement in development programmes.

The Voice of the Industry 9

| Industry News

Thoughts on the Budget une’s ‘Emergency Budget’ was trailed as a once-in-a-generation opportunity for the new Government to shape the future trend of the UK economy for decades to come. Radical action, it was said, was needed from Chancellor Osborne. As well as shrinking the fiscal deficit and controlling national debt, he had to ensure that the emerging economic recovery stayed on track, and protect the most vulnerable members of society. An early strike meant the mess could still be attributed to the previous administration, that bad news was generally expected, and after the recent experience of European debt, early action to convince markets of the seriousness of the Government’s intent was a priority. Many of the measures had been well trailed in advance. The growth of the public sector would be curbed; a range of benefits (tax credits for higher earners, child benefits, housing benefits and disability benefits) would be targeted for savings of £11 billion; VAT would rise to unspecified heights; and there would be a swingeing bank levy and a punishing increase in capital gains tax. On the day, Mr Osborne talked tough. He met the key issues of the deficit, national debt, the welfare budget and the public sector head on, yet miraculously he could still point to growth forecasts from the independent Office for Budget Responsibility that showed GDP increasing and no adverse unemployment consequences. If the hyperbole and rhetoric that preceded the event had encouraged speculation that this budget was to be a cataclysmic event, the reality proved almost an anti–climax, and to business leaders it looked positively benign. Yes, Capital Gains Tax is to go up, but only to 28 per cent and not 40 per cent as widely predicted. Yes, VAT would rise, but only next year. There were to be concessions for employers on National Insurance contributions, and Corporation Tax (including the small companies rate) was to be reduced. Just for once the usual duties on tobacco, alcohol and petrol would be left untouched – for the moment at least. The market was pacified, the bankers would get their bonuses, and yes, there was the promise of jam tomorrow! But even as we basked in the rosy glow of Mr Osborne’s beneficence, grim reality began to bite. First, Mr Cameron had to admit that yes, the pay freeze for fire fighters and public services was really a pay cut, and yes, the pension age was being put back by a year – for now! As always, the devil is in the detail, and most of that won’t be revealed until October, but already there is talk of cuts in police numbers, and many commentators can’t square the proposed cuts in public service jobs with the optimistic employment forecasts. Has the Chancellor done jewellers any favours? An increase in VAT is never welcome. Although it might deliver a brief Christmas bonanza as shoppers go for broke on big ticket items before it takes effect on 4th January, the impact on 2011 is unpredictable. Other than VAT, most jewellers will appreciate that administratively and financially the budget served them well. What is less clear is how much Mr Osborne has added to the collective national gloom, and what effect that will have on customers’ confidence. Tempting as it may be to imagine that jewellers’ customers are all city business types, millionaires and bankers, in reality civil servants, teachers, nurses and the like provide their bread and butter. Only time will tell how many of them will be enjoying a happy Christmas and a prosperous new year.

S N I P P E T S

Xionet Ltd – a retraction In the June issue of The Jeweller it was incorrectly stated in the Watch feature that GK Woods is the distributor for Vabene watches. This was an error on our part, for which we apologise. Xionet Ltd (part of the GW Group) is the UK distributor for Vabene watches.

10 The Jeweller July 2010

Accurist launch a charming watch collection It had to happen… In a response to the demand for beaded jewellery, British watch maker Accurist has launched the first bracelet watch that is compatible with all leading charm bead brands, including Pandora, Chamilia, Lovelinks and Truth. There are three styles in the range; Daisy, Passion and Crystal Row and the watches are silver plated and feature mother of pearl dials. Additional versions in sterling silver will be launched later this year. DeWitt partners with Guards Polo Club Swiss watch brand DeWitt, together with its new UK distributor Linder Luxury is the recently appointed official timing partner of Guards Polo Club. The three year partnership will include customised giant clocks around the Club’s playing field at Smith’s Lawn; a display of watches in the Clubhouse; the organisation of joint events and the development of two specially designed watches for gentlemen and ladies. To celebrate the 50th anniversary of the Guards Polo Club’s historic Queen’s Cup this year DeWitt has designed two special commemorative watches. The gentlemen’s version is inspired by the Twenty-8-Twenty Tourbillion model, while the ladies’ model takes inspiration from the Dame de Pressy watch and is decorated with more than 460 diamonds.

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| Industry News

NAG Challenge Trophy Results n the space of a week Frank Wood has had to reconcile himself to conceding two much loved titles, as he not only handed over the Chain of Office to new chairman Nicholas Major, but also the Bransom sponsored golfing Challenge Trophy to this year’s winner. The second NAG Challenge Trophy golf competition, with many more competitors than the previous year, took place at Fulford Golf Club in York, on the 7th June and was won by Daniel Sullivan, a guest of Robert McDonald of EW Adams, with a very high score of 41 points playing off a handicap of 12. The worthy winner also scooped the ‘longest drive’ prize of a 32” widescreen TV (sponsored by Clarity and Success) and was part of the winning team! Sadly, last year’s clear blue sky and top temperature could not be matched for the 2010 competition, which started well enough but the ‘wet stuff’ eventually made an appearance and dampened the day. However, it did not dampen the spirits of the golfers, with some very high scores being recorded.

The results are as follows:NAG Challenge Trophy – Sponsored by Bransom Retail Systems Ltd. The winner Daniel Sullivan was presented with the magnificent Sterling Silver NAG Challenge Trophy, by Bransom managing director Chris Garland (who also competed in the tournament). Team Prize – Sponsored by the NAG, was won by Robert McDonald, Daniel Sullivan, Chris Rowell and Mike Goodman.

Putting Competition – Sponsored by Bransom Retail Systems Ltd, was won by Donald Currie of Neil & Barker of Widnes. Longest Drive – Sponsored by Clarity & Success Ltd was won by Daniel Sullivan. Nearest the Pin – Sponsored by Concept Smokescreen Ltd, this event was won by David Arundale. As the players were raising funds for the Centenary Trust charity, there were fines for ‘less than regulation’ play at various points out on the course: missing the green on a par 3, landing in the sand on one fairway and missing the fairway on another hole. The fines raised £365, so a big thank you to all the ‘guilty’ parties for joining in the ‘fun’. After the stresses of the golf round and the putting competition, there was a relaxing afternoon tea, followed by a Champagne reception, sponsored by rolexrepairs.co.uk, before a magnificent dinner and the dreaded results. The scores this year, were very impressive and there were several that would have won last year. To view images of the highlights of the day simply visit the professional photographers’ web-site at: www.eventphotosyork.co.uk “We are very grateful to our main sponsors of the day, to the companies which sponsored the tees, and all those personal and company gifts for the raffle table,” says NAG deputy chairman Frank Wood. “Their support is vitally important for ensuring a successful day. If anyone is interested in playing next year, or in sponsoring an event (or both), then please contact me.” (nag@braithwaitesjewellers.com)

WDC calls for ban on Zimbabwe diamond exports to remain in place he World Diamond Council (WDC) has called for all parties involved in the Kimberley Process, to continue productive dialogue and co-operation, following the breakdown of talks at the KP intersessional meeting in Tel Aviv last month. Regulators from 70 countries failed to agree on whether to allow Zimbabwe to trade diamonds after allegations of human rights abuses in mines, as a result of which, the ban on the country's diamond exports is to remain in place. Since its inception in 2003, the KP has played a key role in the effort to eliminate ‘the scourge of conflict diamonds’ from the global diamond trade.

12 The Jeweller July 2010

Ready to tee off: Mark Thorne of Concept Smokescreens, Frank Wood and Mike Hughes, chairman of the BJA

Your country needs you! he next high profile golf competition is the NAG International. This is a home international between England, Ireland, Scotland and Wales, to be held on the 4th August 2010. The inaugural match will be hosted, once again, in York’s Fulford Golf Club, with future venues dependant on the winning country. Anyone interested in playing for his or her country should contact Frank Wood who will direct them to the relevant team captain. The aim is to have around 20 players per country. No need to be a Tiger Woods to play; the organisers are hoping for an enjoyable day with plenty of banter and fun. The competition is open to all sectors of the jewellery industry: retailers, manufacturers, suppliers and ancillary companies, will all qualify for what promises to be a very exciting event.

Famous Golconda diamond up for sale he celebrated 17th century Archduke Joseph Diamond, which has resided in Europe for the past 200 years, is up for sale and could well be brought back to its home country, India, if enough money can be raised to buy it. The 76 carat gem from the Golconda diamond district (now in Andhra Pradesh) has been valued at Rs 250-300 crore. The ‘internally flawless’ D-colour diamond was last sold in 1993 for $6.5m.

| NAG News

Is your business a bit under the weather? here are numerous medicines and therapies to help one’s failing health, but what can be done for a failing business? While acupuncture or herbal remedies will have limited benefits, we would advise retailers to consider a simple Business Health Check to inject some life back into a business and give a fresh, unbiased perspective on how it can be improved. Mike McGraw of Development Initiatives Ltd, which provides analysis and support for this circumstance through the NAG, says the recession has been a difficult three years hard grind for many jewellers, but ironically it has also been a profitable time for others. Why the difference? “Of course there were local and national reasons why some struggled and are still struggling, but the main reasons separating the successful and unsuccessful jewellers are twofold,” he says. “Firstly, those who prospered measured precisely how their business was performing and were able to know which elements to manage and how to manage them. Secondly, with this knowledge they were able to adopt a positive outlook which in turn provided positive motivation to move forward” he adds. McGraw believes that the coming years are a time of both challenge and opportunity. “The principles of knowing how you are performing and what you can do to improve still stand. They are probably even more important when looking to gain a competitive advantage than simply trying to survive.” Which is why a quick and cost-effective NAG Business Health Check is a wise thing to have. It will assess where a business is strategically; how operationally excellent it is; where there are any areas of complacency and whether the team is competent to take the business forward. Knowing where a business is and then taking effective action are the prerequisites to forward planning and creating an ability to take advantage of any opportunities. The Business Health Check, which costs NAG members £25 + VAT or non members £50 + VAT, first involves completing a confidential questionnaire. Once responses have been analysed, written feedback will be provided along with guidance and suggestions on where efforts should be concentrated. In addition, there will be a three month follow up support from Mike McGraw to help with decision making. Ruth Rees of Martin Rees Jewellers in Wrexham reports that the Business Health Check was well worth doing. “It was a really useful and cost-effective way of getting an outsider’s view on the business. It was nice to make contact with Mike McGraw – he gave some useful feedback and we felt he was there if we had any major issues,” she adds. Any business within the jewellery sector, whether retailer, designer maker, supplier or manufacturer wishing to order the Business Health Check, contact Amanda White at the NAG office on 020 7613 4445.

James Bond glitz comes to Scarborough he NAG’s Yorkshire Centre is preparing to dress to impress by hosting a James Bond themed dinner dance on Saturday 20th November, 2010. The Goldfinger evening will form part of their annual celebrations at the Beiderbecke’s Hotel in Scarborough. The black tie event will commence at 7:30pm with prosecco and canapés on arrival followed by a three course “A Taste of Yorkshire” dinner at 8:15pm. Coffee and chocolates will then be served before dancing to Jazmattaz. A disco will round the evening off from 10:30 till midnight. Anyone wishing to attend can purchase a ticket (£37.50) from either Justine Craven (president) on 01723 373122) or Dianne Wood (secretary) on 01904 625274.

14 The Jeweller July 2010

NAG AGM 2010 he extremely salubrious surroundings of Wentworth Golf Club provided the backdrop of the NAG's 116th Annual General Meeting. And for all of those who were unable to attend... you missed a good one! With just the right blend of ceremony – befitting the levity of the occasion – and camaraderie expected among members who are also friends, the important matters arising were followed by champagne, a lavish lunch in a portrait-lined banqueting hall and then a round of golf for those who couldn't resist the offer. The National Association of Goldsmiths has appointed jeweller Nicholas Major as its new Chairman. Nicholas, who is co-owner of Major Jewellers in East Grinstead, will replace Frank Wood as the Association’s Chairman for the next two years. “It is an honour to be elected Chairman of such a fine Association“ said Nicholas Major. “The NAG has supported the jewellery industry for 116 years and is recognised the world over for its high standards of education and professionalism. The services offered both to the members and the public are exemplary.” Nicholas Major has been an active member of the NAG for 45 years, while running the family firm, which has been a member for approximately 100 years, and maintaining the traditional principle of good service and values. The new chairman used the occasion to pay tribute to the NAG’s successes in the past year. “If it is a caddie’s job to support, inform and educate the golfer on the course ahead, then the jeweller’s caddie must surely be the NAG” explained the new Chairman. “The NAG has kept its members out of the rough and on the fairway, by making sure they are informed.”

NAG News |

Oxford Congress 2010 reports EDF growth he 2nd Oxford Congress held on 24th June began on a high note as host Mike McGraw announced that EDF groups had grown from strength to strength with an overall 11 per cent cumulative sales improvement in 2009, and so far in 2010 cumulative sales holding at around the +12 per cent. The Congress was held at the Said Business School in Oxford and attended by 40 delegates who had travelled from all over the UK – members of the NAG’s Executive Development Forum who were joined by other jewellery industry members. During the day, presentations were made by Sophie Hudson of Tui ThomsonHolidays, Martin Barrow of Virada Training and Mark Giddings of Giddings Design, with topics for discussion ranging from the customer experience and selling skills to visual shop design.

New Member Applications To ensure that NAG members are aware of new membership applications within their locality, applicants’ names are published below. Members wishing to comment on any of these applications can call Harshita Deolia on 020 7613 4445 or email: harshita@jewellers-online.org within three weeks of receipt of this issue.

Ordinary Applications Peter Casey Jewellers (Peter Casey) Wantage Kim Wood Jewellers (Kim Wood) Sandwich, Kent Alba Rose (Bruce and Ryan Edkins), Rayleigh, Essex

Affiliate Applications www.iconicwatches.co.uk (Zachary and Gayle Coles) Blackburn

Alumni Applications Oliver James Cartledge, Louth, Lincolnshire Margaret Elizabeth Howson, Cumbria

IRV Applications If members wish to comment on any of these, please contact Sandra Page on (029) 2081 3615.

Upgrading from Member to Fellow John C Benjamin PJValDip FGA DGA, Aylesbury

Sophie Hudson focused on the customer journey and the importance of creating sales through service. Though her presentation was focused on the travel industry, she pointed out that a holiday and a piece of jewellery are both ‘emotional products.’ She explored the importance of the brand and highlighted the importance of setting your business apart from competitors. Martin and Julie Barrow used role play to explore the selling process and the relationship between customer and salesperson, describing how a change in approach can greatly increase sales and retain customers. This opened up considerable discussion on how to proceed when things don’t look too promising – which was very entertaining. Finally, Mark Giddings concentrated on visual design and highlighted the importance of the shop environment and appearance to

draw customers in. With great enthusiasm he presented examples of his work and showed pictures of a recent project with NAG president, Patrick Mark Giddings gives his presentation Fuller of Domino Jewellery, where his team was appointed to create a design for the creative suite. All the speakers stimulated and inspired with their motivating presentations – which were enthusiastically received by Congress delegates. It was apparent that those present were very keen and had attended with every intention of broadening their knowledge and bettering their businesses. We recommend the Oxford Congress to all our members: it is a truly valuable and enjoyable day.

An opportunity to improve retail skills Places are still available on our Seminars for September and October. Increase sales and boost confidence in promoting your product on the NAG’s Essential Selling for Retail Jewellers Seminar with Nigel Amphlett, management and training development consultant. Learn the key steps to successful selling that will take you to a higher level of customer service. 28th September, 2010 – London. Members £208 + VAT, Non-members £269 + VAT What are your business’s unique selling points? What makes your shop visible? What makes a dynamic display? Learn the theory of display and then practise your knowledge with the help of Judy Head jewellery marketing expert. This Essential Window Display Seminar will help you promote buying occasions such as birthdays, anniversaries and Valentine’s Day and create visually arresting displays that capture interest and make an impact. 14th October, 2010 – London. Members £208 + VAT, Non-members £269 + VAT Polish up your diamond grading skills with Eric Emms who will take you through all the relevant topics from a jewellery retailer’s perspective: identification, colour and clarity grading, symmetry and proportion, carat weight estimation, current diamond economics and social responsibility issues. This two day Diamonds and Diamond Grading Seminar is a must for building diamond knowledge and confidence in selling diamonds to an informed public. 19th-20th October, 2010 – London. Members £375 + VAT, Non-members £512 + VAT To book places contact Amanda White at the NAG on tel: 020 7613 4445 or email her at: amandaw@jewellers-online.org

The Voice of the Industry 15

| NAG News

Member of the Month This issue Harshita Deolia talks to Christian Cheesman, Director of CRED Jewellery based in Chichester and London. A member since 2003 and was the first European retailer to sell independently certified Fair Trade gold. Since then, fair trade jewellery and ethical issues are no longer ideas but very much a reality and at the forefront of many jewellers’ minds today. Ethical jewellery has really come a long way. How difficult is it to encourage others to follow the CRED lead? It really has come a long way. When we first started there was no such thing and most of the people that we approached in the industry returned our questions with blank looks. There seems to have been a step change in the last six months and we’ve had quite a few artisanal makers and designers approaching us. We are focused on growing CRED Jewellery but we’re not protective of what we do and want to see the ethos of CRED and fair trade jewellery improve the social and environmental impact of our trade.

Then it’s about using these answers to determine your next steps, like looking for suppliers whose ethics fit with yours. When the business first started in 1996, were many people looking for fair trade jewellery? There weren’t as many as there are today, but enough to get us started. Our first customers were people who were switched on to commercial justice issues, the people who would look to buy fair trade products from supermarkets, those who cared enough about these ethical issues to try and be responsible consumers.

Our first customers were those who cared enough about these ethical issues to try and be responsible consumers. What would you suggest as a starting point for people interested in making their businesses more ethically sound? A starting point is transparency. You need to understand the social and environmental impact of your business. There’s no way of knowing how to make changes until you know where your materials are coming from.

How do you promote the CRED ethos to your customers? Are most of them already informed before they visit the shop? The majority are looking for fair trade jewellery, and generally find us via the website. It’s not really something that you can find in any jewellery shop. Our core focus is wedding and engagement rings, where there’s a lot of

education involved – fair trade is just another dimension. It’s important to explain where the materials come from and the impact that they’ve had on the environment. On average, three tonnes of cyanide or mercury is the amount of waste material used to release gold from its ore and it was this awareness that set us on our journey of doing what we do. Of all the jewellery you sell, is there anything in particular that is difficult to ensure is 100 per cent fair trade? Yes, silver. We use recycled silver as we’re still researching to find a consistent source of fair trade silver. It’s very much a journey; we go to great lengths to tell our customers where the materials are coming from and be honest about the strengths and weaknesses. CRED hosted Essence at London Jewellery Week, can you tell me more about this? There are a few other companies that have joined us on this journey and Essence was the first collaborative show for these jewellers. It was a great opportunity to bring everyone together to show the diversity in the designs and the best of the UK’s new wave of socially aware and responsible designers. Finally, can you share a story with our readers about memorable customers? A couple from West Yorkshire wanted to buy their wedding rings from us but we didn’t have any appointments free for our London showroom. We did however have availability in our Chichester branch so they drove another few hundred miles just to come and see us. It’s impressive that it meant so much to them to buy fair trade wedding rings, that they went that extra length. We’ve had international visitors before, in early June we had customers from South Africa!

16 The Jeweller July 2010

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BJA News |

Changing world brings Associations closer nce upon a time jewellery manufacturers made jewellery and jewellery retailers sold it. The two sides of the industry were clearly defined and never the Mike Hughes, twain should meet: but chairman of the BJA not any more. Things, in our increasingly global industry, are a little different today. Many British ‘manufacturers’ have turned into importers; as have some retailers. An increasing number of producers have turned their hand to retailing – especially online – while some retailers are making forays into manufacturing overseas. The edges between the two, once clearly-defined, elements of our industry have blurred. This is clearly demonstrated by the increasingly diverse membership of the British Jewellers’ Association – all of which is involved in ‘jewellery’, but much of which defies conventional pigeonholing.

Drawing all elements of our disparate trade together has many advantages. There is strength in numbers and speaking with one voice on the threats which currently face us all – high metal prices, security, ethical matters and simply competing for our share of a tough consumer market – really makes sense. Which is why I am so delighted by the fact that the BJA and NAG have entered an exciting period of greater cooperation. This began when Patrick Fuller, chairman of Domino became the first ever manufacturer to hold the position of president of the NAG. We have now taken this collaboration one step further with each organisation inviting a representative of the other to sit in on its committee meetings. We look forward greatly to welcoming NAG chairman to the BJA and to receiving feedback from BJA vice chairman Gary Williams who has been invited to attend meetings at the NAG. We have, I believe, much to learn from each other and I sincerely hope that this

With a view to advancing the cooperation between the two Associations, Gary Williams, vice chairman of the BJA, was invited to attend the recent NAG AGM.

move will be a first step towards a lasting dialogue and a more inclusive and stronger voice for the whole industry on the issues that affect us all.

Designers at CMJ Anniversary ollowing the success of the New Designers area at the Company of Master Jewellers’ meeting in March this year, there will be a showcase of designer talent at the CMJ’s 30th anniversary event this month. The BJA has once again helped to select and guide another group of ten outstanding designer members for the meeting – to be held on the 19th and 20th July. “The designers were very well received and found that many retailers were interested in their quality and style,” comments Lindsey Straughton who co-ordinated the event. Billed under ‘New Ideas, New Opportunities’, CMJ’s 30th birthday event promises to go with a swing with Alexander Davis, Ana de Costa, David Webdale, Eastern Mystic, FSA, Oria, Sarah Herriott, Tomasz Donocik and William Cheshire exhibiting their collections.

Pieces by Alexander Davis (far left), Eastern Mystic (left) and Ana de Costa (above), three of the designers whose work will be on show at the event.

The Voice of the Industry 19

| BJA News

Countdown to Earls Court for BJA members Whether you are a wholesaler, manufacturer or designer, exhibiting at IJL is now the single best opportunity to reach over 9,000 jewellery buyers. According to research by the only stand alone jewellery exhibition in the UK, 51 per cent of its visitors attend no other trade show in this country. his year, 170 BJA members are signed up to exhibit across five distinct product areas: Gems, Fine Jewellery, Silver Jewellery, Design Gallery and Jewellery Solutions. The BJA has negotiated an excellent package for members, including 2.5 per cent discount on the cost of show stand space and a waiving of internet listing charges – saving £215 per company. The BJA staff and service providers – including ‘Copywatch’ lawyers – will be on hand at the show on stand C50. All members are encouraged to submit design deposits to the BJA prior to the autumn shows to help protect their Intellectual Property. This service is free for the first 25 a year to apply. Once again the Design Gallery has proved extremely popular and space there has all but sold out – showing just how important and popular design-led jewellery is within the industry. The BJA will host the KickStart stand, an initiative between IJL and the

20 The Jeweller July 2010

Association to guide a selection of first time designer member exhibitors at the show, on a prominent joint stand in the Design Gallery. There will also be an exhibiting master class for first time exhibitors on 15th June. The show attracts more trade buyers of coloured stones, diamonds and pearls than any other UK event. Over 3,400 buyers who visited in 2009 were looking for gemstones and beads – up a significant 16 per cent on

the previous year. The 2010 exhibition is already 95 per cent sold, but there are still a few locations available for gems suppliers to join the 32 gems exhibitors who have already secured participation. The IJL organisers have ensured a number of areas of interest for visitors, which will include the ‘Editor’s Choice’ product showcase at the front of the hall. Here several exhibiting companies who have been awarded Claire Adler’s Editors Choice, will have their winning products displayed. There will also be several relevant and interesting seminars (that can be attended by visitors and exhibitors alike) including several hosted at the IJL Boulevard Bar. The IJL team has invited anonymous questions to be submitted prior to the show, which will be passed on to the ‘panel of experts discussions’ on either ‘Everything you want to know about buying but were afraid to ask?’ or ‘Everything you want to know about brand building but were afraid to ask?’ Just email: ijlteam@reedexpo.com

IJL Seminar Programme 2010 The crowd drawing comprehensive seminar programme will be split into four streams: Technical skills and product knowledge Gem sessions and valuation seminar from industry experts. Retail Strategy Including the professional American trainer Brad Huisken who will be in the UK again after his successful JCK Vegas sessions. Jewellery Trends Featuring Joanna Hardy of Sotheby’s discussing ‘future icons’ – what jewellery will stand the test of time? ‘Colour trends and its impact on the jewellery sector’ by Global Color Research. Multichannel Retailing Various sessions teaching you how to optimise your website. For further information about IJL please visit: www.jewellerylondon.com

2011 Collection

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the

Jeweller picks... The editor selects her favourite jewellery pieces and watches from recently-launched collections.

TIVON FINE JEWELLERY

The Eden collection was inspired by Eden Tivo, daughter of Ariel Tivon who wanted to release a line which represented a sense of adventure, fun and fantasy. “Our children see the world this way and it is this sense that we, as adults, try to recapture all our lives,” explains Tivon. An array of fine coloured gemstones has been used for the big and bold 18k gold pieces which include this cocktail ring which features a peridot as the centre stone.

TECHNOMARINE

If versatility and fun are two of the major current trends for fashion watches (as well as jewellery) then Technomarine has it all sewn up with the new Cruise Sport collection which offers an interchangeable silicone strap and case cover. All black for those cool, urban moods or a choice of vibrant brights – orange, sky blue, hot pink and lime green – for the slightly more frivolous customer…

FREDERIQUE CONSTANT

GOLDMAJOR

In celebration of the 200th anniversary of the birth of Frédéric Chopin, Swiss watch company Frédérique Constant has launched the 2010 Limited Edition Chopin watch. In either steel or yellow gold plate, the classically styled timepieces feature a piano keys pattern in the centre of the dial. Each of the 1,810 pieces, come delivered in a miniature chopin piano gift box.

While having earned a reputation as a specialist in amber jewellery, Goldmajor has also built up a strong collection of pieces using a variety of other materials – such as marcasite, jet, silver and a variety of coloured stones like citrine and turquoise. These combinations sit perfectly with current fashion trends for bold, impactive jewellery such as cuffs, large drop earrings and, of course, statement necklaces.

HOT DIAMONDS

The new Ionia collection from Hot Diamonds Black takes as its inspiration the figurative representation of coral. Organic forms interweave to create pieces that while modern in feel, also have an air of other worldliness. The 20-piece line is in rhodium-plated sterling silver and, for the first time, 18ct gold plate and all pieces in the collection are set with the brand’s trademark brilliant cut diamonds.

What began a few years ago as a collection revolving essentially around rosewood, has since grown to incorporate silver, 18ct gold plated silver and now a variety of coloured stones. The beautifully tactile bangles, rings, pendants, earrings and statement necklaces utilise green avanturine, black onyx, fire agate and cornelian. The jewellery wholesales from around £32 - £145.

AAMAYA JEWELS

THE BRANCH

This hand-crafted bracelet is one of a new collection of charm-like bracelets by Aamaya Jewels, using roughly beaten gold plate and set with coloured stones – agate, aquamarine, citrine, topaz and black onyx – sourced by the fashion and jewellery designer Priyanka Lugani from Jaipur. Other pieces in her collection include bold and unusual two and three stone rings using sapphire, turquoise and amethyst.

SUKIE LAU

KIRSTEN GOSS ORTAK

Launched this year, Ortak's Belle collection marks the return to the use of pearls, after an interval of five years. The curved lines synonymous with the Art Nouveau period, form the basis of this mixed metal range, which comprises drop and stud earrings, bracelets and necklaces – perfect for late summer brides.

Launching at Pure Womenswear next month, the new autumn Sukie Lau collection from Balagan has, as its main focus, colour. Agates in deep purples, blues and dark greens have been used for a very wearable range of bead pieces (even the clasps are magnetic, so no fumbling with catches).

First seen on the international catwalks at least two year’s ago, the statement necklace still shows no sign of receding from fashion’s spotlight. A perfect summer example (great with a floaty black kaftan for ethnic evening chic) is this Moroccan Collar by top jewellery designer Kirsten Goss. It incorporates 18ct gold vermeil, labradorite, chrysoprase, pyrite, smoky quartz, cherry jasper, sea bamboo and sterling silver and, like all of Goss’ jewellery, is designed and crafted in-house, using stones sourced by her.

| Feature

FUTURE STARS Jayce Wong

t’s a long-held view that the UK produces some of the most talented designers in the world. They may not all have been born here and they don’t necessarily stay in this country to ply their trade – but we sure know how to train them. Our colleges, universities and art schools have a welldeserved reputation for discovering, nurturing and encouraging these creative and innovative individuals. I’m not just talking about fashion, with its high profile names like Galliano and McQueen, but also jewellery of course. In our industry too we have attention-grabbing celebrity designers – Webster, Leane, Azagury for instance – albeit on a slightly less hysterical level. However, while independent fashion retailers fight for the privilege of carrying the sought-after designers, and others actively seek out hot new names straight from their degree shows, jewellery boutiques are arguably less adventurous. Traditional jewellers in particular tend to be more reticent when it comes to investing in new design. Which means that up-and-

24 The Jeweller July 2010

coming designer-makers end up selling to galleries, fashion boutiques or direct to the consumer. As Nathalie Kabiri, who owns two designer jewellery boutiques in London points out: “it is thought [by some] that it is more ‘commercial’ to go with the known rather than the unknown.” What a wasted opportunity! But things are changing… Nicole Akong

There’s a wealth of jewellery design talent out there – but do we fully appreciate it? Belinda Morris asks some industry figures to predict the future stars and choose their top trends for the year ahead.

Linnie McLarty

“Jewellery students are often working alongside fashion designers, but it has taken time for retailers to acknowledge a fashionled approach,” admits Thorsten van Elten, curator of One Year On at New Designers, which showcases young design talent at London’s Business Design Centre this month. “But interest in design in general has finally permeated into the mainstream jewellery retailers, who are realising that they need to modernise their offer to the public, who appreciate contemporary design.” Naomi Newton-Sherlock, head of new product development at Domino agrees that jewellery retailers have, in the past, tended to play it safe: “I think there has historically been an underestimation of the adventurousness of the British consumer when it comes to jewellery [meaning] retailers often gravitate towards safer jewellery designs and tend to stick with what they know, and stocking the work of new and emerging jewellers will always be a risk that many retailers are not happy to take,” she says. “However, I do believe that this is slowly changing. There’s a minority of retailers that

Feature |

Nest Creates

is open to pushing the boundaries and experimenting with new product,” she explains. “Over the past five years we have seen a marked change in the UK consumers’ approach to jewellery. We are becoming more adventurous and increasingly seek jewellery that makes a statement about who we are. As the rise of the self-purchasing female continues, it will be vital for retailers to offer jewellery that offers a point of difference. Those retailers that recognise this are bound to reap the rewards.” Sally Leonard, apart from being a jewellery designer, is business consultant for the Centa project Jewellery Connections. The pan-London scheme – which runs until next year – provides a pot of money to help designer-makers link up with retailers, manufacturers, cast-makers – anyone within the jewellery or allied trades. The aim is to help bring new product to market and connect people, while taking away the stress and a lot of the financial pressure associated with working with a new person.

“There’s a real resurgence in British design at the moment – for a start there are no language, distance or time issues [when working with UK designers]. And there are also economic and environmental benefits – no massive carbon footprint issues to deal with,” she points out. “I would like to see more retailers tapping into the pool of talent that is here. Jewellery Connections offers a relatively low-risk way for retailers to experiment and be pro-active – and it can provide a point of difference to other retailers. There can be a lack of communication in the trade – but there should be no ‘us’ and ‘them’ – it should all be ‘us’.” Certainly, any possible lack of activity between retailers and young designers cannot be blamed solely on the former. “I think it depends on how jewellers approach retailers – some small design companies still do not take seriously the reality of running a business,” says Della Tinsley, co-director of London Jewellery Week. “They might be great designers and crafts people, but struggle at running a business on their own. We foster and support collaborations and will be working with more retailers to facilitate those relationships,” she explains. “It excites me to see someone with great designs and a business that has vision,” she adds. “Good examples are Katie Rowland, Josef Koppmann and Dennis & Lavery

“There’s a real resurgence in British design at the moment… there are no language, distance or time issues and there are also economic and environmental benefits… I would like to see more retailers tapping into the pool of talent that is here.” Hannah Livingstone

who see what they do holistically – good business, great service and brilliant design.” There really is little excuse for retailers not to explore the possibility of exciting new jewellery. At IJL in September for instance, two separate initiatives will showcase the work of emerging designers. “IJL is a very design-led show generally,” says Sam Willoughby, acting event manager for the show. “Many designers launch their first product ranges at IJL, and the show team is constantly scouting new talent. KickStart is a good example of where we will present up and coming design talent to the industry. This exciting feature is supported by the

Lyme Fine Jewellery

BJA, and was launched at last year’s show as a bursary scheme for fledgling jewellery designers and acts as a commercial launch pad for those selected to take part, providing a boost for the industry and allowing retailers to find out about some of the freshest design talent.” Bright Young Gems is another IJL feature which identifies some of the best as yet undiscovered designers. “Nominated by leading editors who know exactly what to look out for – designers who are innovative, push boundaries, and ultimately create stunning pieces – Bright Young Gems is part of an initiative that has become iconic within the industry, for everyone from stylists and trend forecasters to retailers, buyers and the consumer press,” adds Willoughby. And it’s not just new design talent that can be seen at IJL for the first time – it’s also new trends. Visitors can get expert advice from leading trend forecasting agencies, Hannah Bedford

The Voice of the Industry 25

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Feature | commissions in platinum, diamonds and gold. Passionate about ethically sourced materials she uses 100 per cent recycled silver and ethically mined gold and diamonds in her fine jewellery collection. (KickStart, IJL) Nicole Akong – Her pieces are fashion statements and status symbols; each one embodying the spirit of haute couture, using

Sian Bostwick

who are speaking as part of the Jewellery Trends stream of the seminar programme.” “The new jewellery shoppers are very designer-savvy and are open to rising and edgy designers of which there is an absolute army,” says celebrated designer Stephen Webster. “These young designers are passionate about all aspects of jewellery: the legend, the romance, and the emotion that can be evoked by it. Watch this space for a new attitude to the jeweller as the nucleus of a much wider portfolio of products and services. Some may even be elevated to the cult of celebrity, already enjoyed by designers in other areas of fashion. After all what’s wrong with Jeweller DJ’s or Jeweller TV presenters? Let’s face it they all have a certain ‘ring’ to them.”

DESIGNER NAMES TO WATCH Joanna Dahdah – a recent Central St. Martin’s graduate who won the coveted Best New Designer award at Treasure for her fabulous spherical Muse Collection. Ute Decker – her passion and designs are truly inspiring, alongside her commitment to using recycled silver and ethical materials – amazing wearable statement pieces. Linnie McClarty – her new brooches are stunning and a real investment. Jayce Wong – her work, using created ruby discs and pearls, together with naturally Joanna Dahdah

fluorescent diamonds and rubies, glows the brightest shade of red under UV. Della Tinsley, London Jewellery Week Imogen Belfield – nugget rings and pendants in the One Year On showcase – she has recently been spotted by Harvey Nichols (London). Peter Kumarasinhe – a rising star for his ostentation and luxurious settings. He has already won acclaim for his work as a City & Guilds Gold Medal Award winner, as well as awards from The Goldsmiths and the BJA.” Thorsten van Elten, New Designers William Cheshire – creates fantastic, stylish, ‘on trend’ jewellery for both men and women. His gold and diamond ‘Burlesque’ range appeals to the sophisticated end of the market, while his edgy ‘Lightening Bolt’ range in silver, is accessible to everyone. Hannah Bedford – simple yet contemporary designs use the ancient granulation technique in a classic, stylish way. Her most recent pieces in 18ct yellow gold add a touch of luxury with little diamonds sparkling among the granules.” Sarah Hutchinson, Platform Sian Bostwick – unique, handmade, fantasy, fairytale style for a grown up playfulness. The titanium collections combine silver and anodised titanium, for a range of bright blues and rich purples that, in contrast with the silk finished silver, achieve an individual and elegant look. The Wonderland collection features three-dimensional silver heart necklaces. (KickStart, IJL) Daisy Knights – who launched as a Bright Young Gem at IJL 2009, creates timeless, wearable jewellery, inspired by nature… with an infusion of punk and rock ‘n’ roll. Every piece is handcrafted using silver and gold vermeil. She also creates bespoke

Imogen Belfield

high-quality materials, constructed using time-consuming, hand-executed techniques. Everything from gemstones, glass and crystal, to feathers, fur, velvet and lashings of gold and silver chains feature. (KickStart, IJL) Lyme Fine Jewellery – Celia Weinstock, who studied at GIA, creates beautiful impactive jewellery pieces with movement and a witty edge. Using a variety coloured stones she draws inspiration from the Far East for her earrings, statement necklaces and cocktail rings, which are her most popular pieces and form the core of her collection – although she secretly hopes that brooches will one day make a comeback.

Dorit Jewellery

Dorit – Dorit Schieber’s jewellery is inspired by natural forms, which are translated into abstract shapes with clean, defined lines and textures. The designs are minimalist and crisp but also feel very feminine and combine

The Voice of the Industry 27

| Feature Eastern Mystic

TRENDS FOR THE YEAR AHEAD

a range of precious materials including silver, gold, beads, stones and pearls. Mishka – handcrafted in silver and gold vermeil, together with gemstones, pearls and crystals, Mishka’s bold and sensuous pieces reflect a mix of cultural heritages from the Middle East, Central and South America. Her celebrity fan-base includes such names as Pixie Lott, Kimberley Walsh and Lemar. Daisy Knight

Stylesight’s Autumn/Winter 2011 MegaTrends predict a rich season, full of paradoxes, chic simplicity, futuristic primitivism and techno-future aesthetic. Composition takes inspiration from Impressionism, soft painting, and modest design – a retro-handcrafted feeling. Bangles, bibs and collars have a craft-couture spirit. Evolution expresses a desire for Sci-Fi futuristic imagery tinted with a primitive attitude. Statement jewellery balances sharp rings with crystal spikes, with chain mails and stacked strips of metal. From less is more to more is more – Rave has an upbeat free-spirited attitude. Strong architectural accessories break up the neutral palette with glossy, reflective surfaces and saturated neon hues that reinforce this geometric style. Sandrine Maggiani, European trend director, Stylesight.com. The New York based trend information company will be presenting its autumn/winter 2011 MegaTrends Forecast at IJL at 12 noon on 5th September. “There’s a lot of experimentation with new technologies within high fashion jewellery – CAD and CAM, laser-welding, cutting and etching. And these designer-makers are also exploring different combinations of materials like wood, ceramics and rubber. This is also linked, in some cases, to the trend for more ethical working – building a story around alternative materials. Small businesses are where new ideas and trends are coming from.” Sally Leonard, Jewellery Connections “For autumn winter… fashion jewellery will see: fur, brown and black, 70s looks and a return to craft – but in a fashion aware manner. With fine jewellery there’s a more classic, chic eighties style... no more rock’n’roll motifs. We will also see conceptual arthouse jewellery, minimalism and space age seventies modern trends.” Nathalie Kabiri “One thing is sure: ordinary and expensive is over. People are looking for many emotions to be stirred if price means skipping a few mortgage payments. I believe smaller brands who do not benefit from the international mega marketing of the big players, have to offer a client the feeling that they belong to something special. Stephen Webster

JuditB – Judit Blumenfrucht works with clients to create their own one-of-a-kind pieces that reflect their personality just as much as hers. Her modern jewellery reflects her love of art and architecture, particularly the Art Deco period – designs are architectural with the sharp angles and geometric shapes used to compose every piece. Nest Creates – design duo Zoe Youngman and Kate Thornley celebrated Nest Creates’ first birthday with the unveiling of their Clouds and Mosaic collections in platinum, 18ct gold, orange sapphire and diamonds. The lineds are inspired by a mix of the historic (Indian miniature paintings) and the modern (computer generated pattern). I

28 The Jeweller July 2010

“There’s a trend towards very large statement pieces, including brooches and emblematic pendants – it’s highly individual. However, there is also a strong sense of nostalgia – harking back to traditional keepsakes in smaller scale jewellery, such as lockets and secret compartments. One Year On at New Designers saw great contrasts between the dramatic and the intricate, like the little boxes in precious metals by Hannah Livingstone.” Thorsten van Elten, New Designers “I hope that the Ethical, Fair Trade, Fair Made movements will become mainstream and LJW will continue to work with organisations to educate and inform retailers, the buying public and designers. At the show large statement pieces were really making it into most collections and that encourages the use of new and innovative materials and techniques, as the work becomes more like art. Della Tinsley, London Fashion Week “At the Swarovski trend presentation during London Jewellery week, new strong femininity was highlighted as the key trend. And nature will continue to have a strong influence with water having a notable dominance in all areas of design. This week we launched Flow, our new collection of diamond set rings, earrings and pendants which have a very natural, organic feel. I believe the consumer will seek out jewellery which excites and tells a story.” Naomi Newton-Sherlock, Domino

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Christmas is coming... It may only be July but members of the British Jewellers’ Association are already planning for the Yuletide season and have plenty of beautiful, festively-themed and party-perfect pieces that will make great gifts this winter.

Saretta

For those looking for affordable luxury and something completely different, this handmade cubic zirconia flower necklace with ribbon fastening is designed by Jianhui Yan for Aventure London. RRP £415 www.aventurelondon.com

Guarantee you get kissed under the mistletoe with this limited edition, ethically sourced silver and freshwater pearl pendant by Sarah Bond for Saretta. RRP £149 www.saretta.co.uk

Andrew Geoghegan

Aventure London

Mounir London

This rutilated quartz ring is from the Celestials collection by Andrew Geoghegan – a name synonymous with designer engagement rings. Featuring stones set high off the finger, these statement designs use 7ct quartz or Tahitian pearls. RRPs start at £1975 www.andrewgeoghegan.co.uk

Katie Rowland Jewellery

Swing from the chandeliers in these eyecatching silver and 9ct gold earrings from Mounir. There are three colour combinations combining different pearls and gemstones. These are in black onyx with ruby and pink topaz. RRPs from £195£420. www.mounir.co.uk

The Mademoiselle Libertine Collection includes rings and necklaces in a range of gemstones including smoky quartz and amethyst. These St. Tropez rings in gold vermeil feature faceted amethyst and lemon quartz. RRPs £165. www.katie-rowland.com

30 The Jeweller July 2010

BJA Buyer Preview |

Leblas Ethical Jewellery

These innovative ‘Anaconda’ wrap around cufflinks from the Britton Bespoke range by Flash Jordan come in sterling silver with six pear-shaped amethysts. Unlike conventional cufflinks, they are designed to be viewed from every angle and stone options also include garnet and white topaz. RRP £350 www.brittonbespoke.com

Nina Breddall’s new range of sterling silver jewellery has a diamond-cut finish to give real glitz and glamour. The range includes bangles, earrings and pendants and is available with its own-brand box. RRPs start at £15. www.ninabreddal.com

Mishca

This fashionable twisted pearl and Swarovski crystal necklace comes in two versions. One (pictured) uses grey freshwater pearls with a striking crystal drop draped from a decorative silver chain and a distinctive H-shaped silver clasp. The other uses brown pearls with a gold vermeil clasp and chain. The RRP for both is £390. www.mishca.co.uk

Eastern Mystic Jewellery

Turn heads with Leblas’s Harlequin collection of pendants, earrings and rings in 18ct recycled gold. Designs come in three colourways – peridot, sapphire and amethyst – using traceable gemstones. RRPs from £595-£845. www.leblas.com

Nina Breddal

Flash Jordan

This ‘Jalkari Tavishi’ necklace from the Indali collection by Eastern Mystic Jewellery combines lapis, amethyst and fair-trade 24ct gold vermeil hand-knotted on silk to create a real party piece. RRP: £835. www.easternmystic.com

Vizati

Vizati’s ‘White Satin’ range features some 250 sterling silver designs of a highly organic nature including some enormous statement necklaces. RRPs for the necklaces range from £350-£400. www.vizati.com

All these companies and the many other suppliers of Christmas jewellery who belong to the British Jewellers’ Association can also be found at www.bja.org.uk

The Voice of the Industry 31

| BJA Advice

Jewellery photography – the dos and don’ts No-one who has tried it would suggest that photographing jewellery is easy, but why are so many jewellery suppliers still getting it so wrong? Lindsey Straughton takes a look.

hey say a picture is worth a thousand words. This may or may not be true, but it is perhaps worth considering what words are conjured up by your publicity shots when viewed for the first time by a journalist or a potential customer. Do they draw compliments or sighs of despair as to why anyone could believe that such an unattractive image could ever help anyone to sell their wares?

I’ve done my fair share of sighing recently as the images for this month’s feature on Xmas in July popped into my in-box. Some, as the published pictures demonstrate, were fabulous, but sadly some of those I received were simply not fit for purpose; meaning that those companies missed out on a great PR opportunity and the chance to get their products in front of their target audience.

Here are a few common mistakes:

surfaces like the dark side of the moon! If necessary ‘Photoshop’ the photograph to remove the faults together with any black marks caused by reflections in the metal.

Too many items Most images are used in magazines at credit card size. If you supply a picture crammed with widely-spaced items they will be far too small to be viewed at that size.

Too many widely-spaced items will be too small to have any impact

Bad props, accessories and lighting Many images are spoilt by inappropriate props and backgrounds and, even more frequently, bad lighting. Invest in professional lights and use two to minimise shadows. Pick props very carefully to enhance your brand image. Less is often more. Bad workmanship If your jewellery is badly made the imperfections will leap to the forefront when photographed and enlarged. I regularly see images of purportedly polished rings with

32 The Jeweller July 2010

Poor lifestyle images Jewellery can really come to life when worn by a model but doing this on the cheap can look awful. Close-up shots of wrists, ears or necks of non-professional models can sometimes work well without the services of a stylist but beware bad hands (wrinkles, blotches, hairs, veins, bitten nails etc): hand models aren’t paid a fortune for nothing. The wrong resolution All magazines considering images for print require that they should be supplied as either TIFF or JPEG files scanned to at least Hand models aren’t paid a fortune for nothing!

In some cases the rejects were adequate in terms of composition but were supplied at the wrong resolution and if printed would have pixellated (i.e. broken up into little boxes of colour) others were just plain bad. The resolution issue – while annoying and time consuming for editors – can usually, providing the original image is large enough, be sorted out. What cannot be sorted out and what will guarantee that your picture goes straight into the reject pile is a bad photograph. So what defines a bad photograph? For most of us an unpleasant picture of ourselves is one in which we look less than fabulous; in which the lighting is wrong and exposes our faults rather than highlights our best features. Or maybe it’s just that the composition imperfect. Surely the same maxim should apply to jewellery? If your product doesn’t look fantastic then either the product itself is dodgy, or it is a bad photograph.

Zooming in to 400% on screen can give an idea how well the printed result will come out

300dpi (dots per inch) at 10cm. A dictum, which for the non-technical among us, means absolutely nothing and is hard to explain in a few words. Suffice therefore to remember that images appear on your computer screen at 72dpi but are printed at 300dpi, approximately four times as big. Test out whether or not your image will stand magnification by zooming in 400%. If the image blurs or looks rough around the edges it will look even worse on paper. Not admitting faliure Photography is something many people think they can do themselves. But there is an art to it. If your results are less than ideal, it would be best to pay for the services of a good professional photographer. If a job’s worth doing…

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Colour C O N F I D E N C E With cost-cutting the phrase on everyone’s lips this post-election summer, you’d be forgiven for thinking that the fashion for jaw-dropping coloured gemstones was behind us. But wait… don’t pack away the big bright baubles just yet, says Jo Young.

ake yourself back (not far) to 2008, and one of the biggest ‘stories’ of the jewellery year was that of coloured stones. Giddy with the joys of a prolonged period of fashion and accessories (and, crucially, spending) excess, and what you may recall is that women were only too happy to snap up the brightly coloured jewels – both precious and less so – that designers and retailers were pushing out; stones of gobstopper dimensions, in fabulous children’s candy hues, that carried the kind of price tags of which jewellers dream. Fast forward now, if you will, to 2010: how the landscape has changed. We’ve seen economic turmoil of greater magnitude than many in the industry can remember; we’ve watched in dismay as many a retail business has hit the buffers (among them more than a few household names), and we’re entering the second half of this year under the stewardship of a costcutting austerity government. Paying

34 The Jeweller July 2010

the price of our earlier consumerist enthusiasms, it seems inevitable to the outside observer that giant coloured rocks should be a fashion shelved. Bubblegumcoloured necklaces and garden pea-sized emerald ear drops are inappropriate for all but the most excessively wealthy in these straightened times, surely? Not a bit of it, says Jeremy Kanzen of Slade & Kempton, “We have seen a marked increase this year in the Stephen Webster

better quality coloured gems rings that we sell. As wallets are tight, fine gem jewellery becomes a more considered purchase and customers are showing much more interest in the quality of the gems and their origin.” Award-winning designer Ornella Ianuzzi, whose latest pieces are fashioned from rough opal agrees with Kanzen. “I would say the coloured stone market is definitely growing, and colours are generally extremely popular, for sure,” she says. “Nowadays women are buying their own jewellery and they often do it to match one of their outfits. Therefore, they tend to go for coloured stones, and most of the time, they have various sets with different colours. From the last commissioned pieces I had, all the stones I was given to work with were coloured stones, so for me that market is definitely growing!” Zuza Jungowska, from fine jewellery brand Mounir, agrees that the sales uplift seen across the industry for coloured stones

Main image courtesy of Ornella Ianuzzi

Feature | in recent years is showing little sign of abating. “Sales are on the increase this year, and I would say that its been helped by an increasing awareness and knowledge of semi-precious stones by the consumer,” she says. “For us, customers are not fixed on one specific style; they like colour across the board, and in my view, our sales are driven primarily by our designs.” “The last year has brought change in preferences,” comments Ariel Tivon of Tivon Fine Jewellery. “We have seen an increase in sales and requests for rare and more unusual gemstones. Contrary to what was predicted, demand for higher ticket items has grown, such as large tanzanites, aquamarines and rare tourmalines. Consumers see value in truly fine jewellery and gemstones. Also bespoke one-off pieces have been more popular.” London-based designer Robert Tateossian says that colour “has always been very important in the Tateossian line of jewellery”, with smoky quartz playing a particularly important role in the current collection. “We expect to see our sales increase in the current year, because there seems to be a return to consumer confidence in the market. Currently what is selling very well is smoky quartz, combined with beads made of water snake in a beige colour – so very soft, pastel colours,” he says.

Prism

A necessary caveat, of course: anyone in the business of selling coloured gemstone jewellery is likely to suggest that their product is selling – or going to sell – like hot cakes this summer. And it is certainly true that, in the writing of this article, I discovered more than one jewellery brand that has quietly dropped coloured stones from their collections. Make of that what you will. Yet, there is evidence – more than anecdotal – to suggest that the market for coloured stones remains large and is growing.

The smoky quartz pieces are hugely popular, as are those in amethyst. Smoky quartz is a wonderful stone, an underrated classic… Another stone that looks set to be big news this summer is amethyst, with several jewellers producing designs in this everpopular purple stone for summer wear. “I think coloured stone jewellery is becoming much more popular with customers, particularly those who are more fashion conscious,” says designer Katie Rowland. “Cocktail rings are a great example of this trend. I see women buying some of the most beautiful cocktail rings with amazing coloured stones. I love citrines, amethyst and my all time favourite, smoky quartz. Although I use other stones, such as rubies, garnets and sapphires, the smoky quartz pieces are hugely popular, as are those in amethyst. Smoky quartz is a wonderful stone, an underrated classic in my opinion.”

Colour academy Firstly – always a reliable bellweather event for jewellery fashions to come – there was the Oscars earlier this year. At what is probably the world’s highest profile trend-sending event, colour was everywhere. For the most part, coloured jewellery was muted in tone – neutral, ‘nude’ diamond shades like beige, pastel pinks and yellow were particularly popular – but there was nonetheless a strong showing too for precious blue, red and fuschia, which the most couture-confident matched with their dresses. Kate Winslet, for her part, topped the lot with a one of a kind, art deco-styled yellow diamond necklace, made for her by Tiffany. This $2.5m bauble she wore with a pair of canary diamond drop earrings and a yellow diamond bracelet. (The actress set all this off

not just with a handful of discreet security guards on standby but with an advisedly simple and sophisticated cream satin frock. Smart girl!). What’s interesting about this turnout for coloured stones at the Oscars – as well as at the Golden Globes that preceded it – is that the Oscars ceremony has always been about white diamonds. Actresses are paraded, year after year, as human advertisements for America’s finest diamond retailers, among them awards night favourites like Neil Lane and Harry Winston, well known for their spectacular, flawless white diamond creations. At the Oscars, diamonds are usually everyone’s very best friend. This time, however, the living-and-breathing billboards were put to equally good use promoting coloured stone jewellery. And that’s quite telling. Slade & Kempton

The Voice of the Industry 35

| Feature Futhermore, the celebrity appetite for antique or vintage-look fine jewellery does not seem to have abated so far in 2010, nor too, it seems, has the general public’s, and vintage coloured stones are in high demand. “Vintage jewellery is a major inspiration for my designs, in particular from the Art Deco period and has proven very popular with clients. My pieces pay homage to antique designs, but I give a contemporary twist by using coloured gold and coloured diamonds,” says Celia Weinstock of Lyme Fine Jewellery, who reports particularly strong sales of sapphires at the moment. As well as being bright, the look is big, too: chandelier earrings have been seen on all the major red carpets this spring and summer, alongside statement-sized cocktail rings in – what I like to think of as ‘the big boys’ – coloured diamonds, emeralds, rubies and sapphires, alongside turqoise, amethyst, aquamarine and coloured opal.

Auction success Where actresses have borrowed, the wealthy appear to have been busy buying. Several of the UK’s major auction houses report that sales of coloured stones have been healthy this past year, some notably so: Christie’s recently announced that, during the final quarter of 2009, it set an all-time record for the number of sapphires and coloured diamonds on the auction block. Most impressive is the number of high end pieces that Christie’s sold for way beyond their estimate – among them untreated Burmese rubies, Kashmir sapphires, Colombian emeralds and fancy coloured diamonds. Rare coloured stone designs –

Lola Rose

Tips for selling coloured stones I

Fei Liu

36 The Jeweller July 2010

To start off with, (and this sounds daft, I know, but...) find out what it is that your customer genuinely wants. Give them a seat, and a cup of tea or a glass of water, and then find out what’s most important to them: the colour, or the design? The price? Do they want a faceted or a cabochon stone? Sometimes buyers aren’t as sure as they think they are, and they need a bit of a steer; in any instance, you can save a lot of time and get closer to securing a sale if you bring out the right jewellery from the outset. If a customer says they want to see a ruby ring, say, or a pair of emerald earrings, always try to bring out a variety of pieces at different price points. Customers will appreciate you not trying to ‘push’ the most expensive pieces you carry, and it may be helpful to you to have stones of diverse quality on hand if you need to explain your pricing later in the conversation. Remember that buyers may not be as au fait with coloured stone prices as they are with white diamonds. You may need to do more of the work in making your customer appreciate why a piece is priced as it is – and to understand the sheer range of quality where stones are concerned. First things first: explain to your customer that they cannot judge a stone upon the carat alone. A one carat sapphire can be many things – and many prices. If you can, show and tell: put a high quality, high clarity one carat stone side by side with a stone of poorer quality. As with any high value purchase, the discerning customer will believe what you’re saying if you put the proof of it in front of them, and they will trust you considerably more if you make the effort to do this without prompting. Mask your frustrations! I cannot tell you the number of times I’ve heard jewellers complain about customers coming into the store demanding to buy a 3 carat ‘ruby’ at the same price they saw it on Tumbling Price TV or similar. This isn’t your customer’s fault, and you’re not going to make a lifelong customer of them if you’re impatient with them. Smile, and take the time to explain the range of gemstone and jewellery manufacturing quality on the market today, and you just might make that sale.

| Feature in fashion; we match our stones to the hot colours of the season,” he says. “In terms of driving coloured sales, celebrity has definitely had an effect. Lots of TV stars are wearing huge, coloured, semi-precious rings, necklaces and bracelets. Plus the press has had a big impact, often featuring coloured pieces.” Designer Rachel Galley, who is just launching a new collection of blue topaz jewellery, also cites celebrities as a major factor in the continuing popularity of colour. “I think celebrity endorsement has a huge factor,” she says. “If a certain celebrity commissions a high end piece of jewellery in a pink diamond then the demand for all pink stones pick up whether in high end jewellery or fashion jewellery. Also greater product understanding helps towards driving sales towards a certain stone or away from a certain stone or colour,” she says. “I think the design is the main factor,” says Ornella Ianuzzi. “There are some amazing creators out there who know how to use coloured stones in their jewellery, and the

Clogau Gold (this image and top of next page)

Lots of TV stars are wearing huge coloured semi precious rings, necklaces and bracelets. Plus the press has had a big impact, often featuring coloured pieces. by the likes of Cartier, Van Cleef & Arpels, JAR, Tiffany and Bulgari – commanded particularly high prices, many fetching more than double their estimates and some even breaking new records. At the company’s latest sale in Hong Kong, held in early June, Christie’s realised HK$470.5m, with 89 per cent of stock sold by lot, 94 per cent sold by value; one of the top pieces to go under the hammer was a Kashmir sapphire bracelet. “At more than US$60 million, this auction is the most important ever organised by Christie’s anywhere in the world. It is interesting to note that the Kashmir sapphire bracelet which sold for US$6.9 million had been sold by Christie’s previously in 1988 for US$902,000, which represents US$1.7 million in today’s currency. Kashmir sapphires, Golconda diamonds, natural pearls, and important jade are faring better than ever, with prices reaching new levels,” said Vickie Sek, the director of jewellery and jadeite for Christie’s Asia.

38 The Jeweller July 2010

Price and Design For most designers and retailers, the attraction of coloured stones for customers is in the design. Roger Latham, of fashion jewellery brand Lola Rose, says that the growth in the market for coloured stones is being driven by womens’ increased fashion awareness. “Our sales have increased this year, and this is partly due to the fact that customers are more aware of colour trends

London Rocks

Tivon

result is some extraordinary pieces that would seduce anyone. But fashion and trends can be strong motors for some women: they would be influenced by what they hear, read or see, and if a coloured stone is picked up as ‘the stone of the moment’, then they would probably want to have that particular stone to wear too,” she muses. Designer Karl Karter of London Rocks, who says that coloured stone jewellery “is a big part of his business”, believes that the steady growth of the coloured market is driven primarily by the parallel growth in purchasing confidence among jewellery buyers. “Over time, my clients have grown much more adventurous and confident with what they purchase and wear. I think there

Feature | Question: Do you find that customers are concerned about whether or not stones have been treated? “We haven’t had any issues and the couple of times we’ve been asked, once we’ve given an answer – for example, that Persian agate is heat-treated to enhance the coloured banding – they are quite satisfied.” Roger Latham, Lola Rose “Some people are more aware than others, and some people just love that colour or that design rather than the value purely being in the stone.” Rachel Galley, designer “Yes, the ones who are aware of these processes always ask. I am concerned about it and do my best to stick with 100 per cent natural. It is the foundation of my work really: to create jewellery with natural beauties.” Ornella Ianuzzi “No, we find that people are not really concerned about treatments, they are more concerned with the price points.” Zuza Jungowska, Mounir London “Yes they do, and they appreciate being told – something we always do with the certificates that accompany our pieces. Ultimately, it depends how much they are spending. If they are spending over £500 then they expect to know all the information about the stone.” Robert Tateossian “In some cases, yes, they do ask, especially if the stone is a particularly vivid colour, but I don’t think this affects the sale of the piece.” Fei Lui “A lot of customers are not aware of treatment techniques – I always point these options out to the clients as it can affect any future work that might need doing to the piece.” Karl Karter “Gem stones don’t have a grading system as well known as that of diamonds, so buyers are more likely to judge quality by the origin of a gem stone and always ask if it’s treated. They have a natural aversion to treated gems, as intervention with the gem’s purity seems to take away the magic.” Jeremy Kanzen, Slade & Kempton “Generally, no. Customers are more concerned with the quality of the stone, its weight and clarity.” Ken Jones, Clogau Gold “There is concern. Sourcing is key and it’s all-important that you can trust the source of your gemstones. I think that is why people come to us and they know we take great care in ensuring the quality of our gemstones.” Ariel Tivon, Tivon Fine Jewellery

The Voice of the Industry 39

| Feature is a wider public interest in the jewellery industry at the moment, especially with people wanting coloured stones and feeling more confident about wearing them. This comes back again to the availability of more adventurous designs,” he says. Interestingly, some designers and retailers suggest that coloured stones attract buyers through their affordability. “I think coloured stone jewellery is growing in popularity as it seen as a more contemporary way to accessorise and make a fashion statement, and they can be much better value for buyers,” says Celia Weinstock. “I think that

Celia Weinstock

the recession has increased the demand for coloured stones as white diamonds are seen as more expensive and flashy, so in the current economic climate people wish to wear more low key jewellery.” Karl Karter agrees. “If anything, the recession has helped coloured stone buying as when people are researching into getting a piece made for them, instead of choosing the obvious stones such as diamonds, they are looking for something cheaper and this has opened up a new realm for people finding alternatives to mainstream stones. Mounir

Alfred Terry

Fashion and trends can be strong motors for some women: they are influenced by what they hear, read or see, and if a coloured stone is picked up as ‘the stone of the moment’, then they would probably want to have that to wear too. People are looking beyond the main precious stones and are realising there are many gorgeous stones out there that they never even knew existed...” “The recession has made consumers more discerning,” points out Ariel Tivon. “Whereas previously many consumers may have bought cheap and cheerful dress rings for an occasion, this has been replaced by the likes of the bead and silver companies. However, purchases of better quality pieces, like tanzanite jewellery have risen.”

Hue don’t cry I wonder, though, whether it is the colour that purchasers are most interested in when buying coloured gemstones? Or are they influenced by other things? Speaking for

40 The Jeweller July 2010

Rare Welsh beauty with a heart of gold™

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| Feature myself, I am a sucker for green stones, and I’d happily wear anything ‘statement-y’ and fabulous if it came in a vivid leaf-green; whether it were a real emerald (yes please) or something at the more affordable end of the purchasing scale – it wouldn’t matter. But is that just me? Designer Fei Lui – whose fine jewellery pieces often incorporate ‘lesser seen’ coloured stones, but which nonetheless maintain essential commercial appeal – suggests that the accessibility of coloured stones is at the very heart of their appeal. Yes, we all love the precious stones, but isn’t it nice that we can also buy in to a look at a lower price point? “Design is always fundamental in the success of a collection, and many collections will transcend trends, but most people will buy coloured stones because they like the piece or it complements their look. The precious stone groups such as ruby and sapphire will always be purchased for their intrinsic value, but semi-precious stones offer a range of colours that allow a lot more accessibility, and I think this is why they are so popular,” he says. “Certainly in our collections most people will be buying the pieces for the colour and the scale. Many of our pieces are over 15ct per stone – a size that would be far more expensive if it were a precious stone. I still think, however, that for some, rubies, Mounir

42 The Jeweller July 2010

Pomegranate

The precious stone groups such as ruby and sapphire will always be purchased for their intrinsic value, but semiprecious stones offer a range of colours that allow a lot more accessibility, and I think this is why they are so popular sapphires and emeralds are well worth the money and those customers will always prefer to purchase them.” For jewellery brand Pomegranate, buyers purchase for a “general love” for coloured stones, rather than being fixed on a particular stone type. “Part of the appeal of coloured gemstones is that it is possible to match jewellery to the latest trend, or to a particular outfit, while knowing that you are buying something with quality and longevity,” says a spokesman for the company.

Rachel Galley

The beauty of coloured stones, of course, is the fact that designers can work with the same colours at different price points, as Rachel Galley points out. “I personally use semi-precious stones in my main ranges in order to keep the price points reasonable, but for commissions, depending on the budget of your client, you can explore other options if they want a precious stone.” Robert Tateossian agrees price is always going to be one of the most crucial factors for buyers of coloured stones: let’s face it, if you’ve got your heart set on that gobstopper cabochon, you’re going to be hard pushed to make it happen with a Burmese ruby. “It really depends on the price point,” he says. “I suspect that if you are selling an item for more than a couple of thousand pounds then your customer will expect the piece to be ruby not red spinel, or emerald not green garnet. At the lower price points, consumers are happy to go with colour rather than the family of the gemstone.” I

Robert Holt, Holts Gems

My favourite gem There is one particular facet of the industry that truly can be said to attract interesting, passionate characters – individuals whose trade requires them to absorb a great deal of information in order to acquire the necessary broad knowledge. They are the gemstone specialists. Lindsey Straughton asks four BJA members, as well known UK gem experts, to pick their favourite stone.

Harry Levy, Levy Gems Ltd

I find it difficult to reduce my favourite gem to just one as almost all the top quality of any type can inspire. I am passionate about opals, where each gemstone is like a work of art! A fine emerald, ruby, sapphire even quartz can take one’s breath away. What makes a stone ‘fine’ is a good even colour with no zones, and usually with no inclusions. My father told me that if I wanted to buy and sell stones I should never fall in love with one – a rule I have often broken. My staff sometimes don’t understand when I say I do not have a certain stone for a customer, even though they have seen it in the safe. We are told that inclusions are bad but often they can give character to the stone. Our urge to posses a good stone has led to treatments to improve colour and remove inclusions – something that could eventually kill the natural gemstone industry. www.levygems.co.uk

44 The Jeweller July 2010

Kathy Whitehouse, Marcia Lanyon

You cannot work at a company that deals in coloured stones without loving all kinds of gemstones, so it is difficult to choose just one. We are lucky enough to see such a wide variety of pieces pass through our doors, that anything particularly beautiful or unusual gets remembered. However, if I have to choose, my personal favourite is tourmaline. When people ask me what kind of stones we deal in, or when I am looking for something to photograph for a publicity shot, I always think of tourmaline first. The stone epitomises what we do here – they are all about rich and glorious colour. The variety is something to really be impressed by – bright fuchsia pink, neon blue Paraiba, deep forest greens… And then of course there are watermelon tourmalines – juicy candy colours combined into single gemstones. They are fun as well as elegant. If they didn’t exist already I have no doubt that we would be trying to make them. www.marcialanyon.co.uk

| BJA Q&A There are a variety of reasons to prefer one gemstone to another. One might be attracted to the colour or perhaps the durability as well as the cost. In my case none of these options play a part. As a new gemmologist I met a gem dealer in Brazil. As a parting gift he gave me a large, dull-looking, greenish opaque pebble. “One day”, he said, “when you have the chance, get this stone cut and polished”. For years the stone sat on my desk, not attracting attention. Having set up the business we still lacked the facility and skill for gemstone cutting but finally we overcame this shortcoming. As a first experiment we used the pebble I had been given and, having penetrated the external skin, we found a perfectly clean translucent area of beautiful vivid emerald green. The colour was further enhanced with cutting and faceting. A revelation! That evening I asked my future wife what her favourite gemstone was. She replied: “My birthstone – emerald”. Hence choosing my favourite stone is easy. www.holtsgems.com

Richard Haruni, Intl. Gemstones

My favourite gemstone has to be sapphire. For me, this stone shows the true spectrum of colours, which when cut well, can radiate vibrance and lustre not seen in most stones. My favourite colour of sapphire is a royal blue natural colour of Burma. Rarely do you see stones which just by the way they look, command your attention. The fact that the word royal is used to describe the colour says it all. I’m not sure where or how I came to like this stone so much – it must be exposure. Having grown up around the business and having been fortunate enough to see such important stones has, it would appear, had a definite impact. www.thegembank.com

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| Advice Jeweller

Ruby Bluesday Rubies are in the news, with the media, web forums and trade shows all buzzing. But mostly for the wrong reasons. Jack Ogden advises the industry to beware the tricks of the trade. ruby which sold for thousands of dollars in an auction has been identified as glass-filled; a major US company is harangued in the press because its sales staff were unaware that their rubies were glass-filled; a repairer and his customer are shocked when a simple sizing job turns nasty as a large ruby emerges from the pickle looking like crazy paving. New true horror stories erupt every day. Even in the UK, where new treatments are often relatively slow to appear, glass filled rubies are now turning up in quantities and many jewellers, valuers and repairers report encountering them.

cemented together with glass (figure 2). The process is being carried out on huge quantities of poor quality rubies from Madagascar and Mozambique. These cut stones are available by the wheelbarrow load for as little as £1 a carat and can easily fool the unwary. (Figure 3). Spot the dog There is some good news. Spotting these treated rubies is not that tricky for a jeweller with some experience of gems. Once you’ve seen a few, you’ll recognise most of them. The typical identifying features under 10x or greater magnification include: • Wispy blue to purplish flashes (not unlike that seen in fracture filled diamonds) (Figure 4) • Gas bubbles (usually spherical or near spherical) (Figure 5)

Figure 3 A glass filled ruby of the quality that sells for two or three pounds per carat.

• •

Localised change in surface lustre or levels (Figure 6) Visible filler

Do note, though, that not all of these will be observable in all stones, and with some of the more recent treated stones, distinguishing features may be more difficult to see. Try different lighting directions and, however experienced you are with a 10x loupe, consider buying a basic gemmological microscope – more a necessity than a luxury these days. Take care It is not illegal to produce, buy or sell treated gemstones. They can provide good consumer choice at great prices. But consumers do need to be aware of what they are buying. In the case of the glass-filled rubies, customers

Figure 1 One end of a cabochon, glass-filled ruby reveals that it consists of ruby fragments in a yellow-glass matrix. Yellow glass is used to counteract the bluish colour of some of the rubies. This photo has been digitally manipulated to exaggerate the colour contrast, the actual difference between the ruby and the glass is far less obvious.

Trick or treat In essence this glass treatment is simple. A piece of ruby rough barely deserving of the name ruby, and which you wouldn’t stoop to pick up from a gravel path, is bleached or acid cleaned (Figure 1 above), and the flawed, porous results immersed in molten glass (Figure 2 right). Once cut, the results can look magnificent – the glass is often coloured which helps. Some rubies have minimal glass, some great puddles of it and some have separate bits of ruby

46 The Jeweller July 2010

Figure 2 Left: The ruby rough before bleaching or acid cleaning. Right: after glass filling.

Figure 4 Wispy blue and purplish flashes deep within the ruby reveal the glass filling the fissures.

should know that they are buying a product which, however visually attractive initially, is of minimal value compared with untreated rubies of similar colour and size, and may lack the durability of an untreated ruby. You might decide not to sell jewellery set with glass-filled rubies, but you still need to be vigilant about what you buy or offer to repair or value. In a manufacturing or repairshop context avoid obvious potential dangers such as high temperatures, acid pickles and plating solutions, but even simple cleaning using ultrasonic or steam cleaners may cause problems. Customers should be advised to treat the stones with care and especially

Figure 5 Gas bubbles visible within the glass filling a cavity in a ruby.

to avoid contact with acids (including lemon juice or vinegar) and any harsh cleaning methods. Have a look Once you’ve seen a few of these glass filled rubies, you’ll recognise most of them. Fair enough, but where can you gain this initial familiarity? If you are a Fellow, Member or Corporate Member of Gem-A you can visit our London headquarters for a focused and free 15-20 minute hands-on Gem-Mentoring session (preferably by appointment: 020 7404 3334). Gem-A will be providing a similar opportunity for all attendees at the NAG Valuers Conference at Loughborough (18th to 20th September). Positive action The answer for the trade, of course, is to keep up to date with what’s out there on the market and to have practical skills honed to recognise what needs recognising. Sadly you can’t always rely on your suppliers to have done their homework (or their suppliers), so ask probing questions, and cover yourself by asking for suitable disclosure on any invoice or memo. With care,

Figure 6 Glass is softer than ruby, and thus the ruby may stand proud of the glass, filling a cavity in a polished stone. Here this border between ruby and glass is revealed by the light reflecting off its edge – the irregular white line starting some three-quarters up on the right, and travelling diagonally down towards the left. The glass is to the lower side of this line.

experience and honesty these glass-filled rubies, also called ‘composite rubies’, shouldn't be a problem. That might sound optimistic, but there is nothing wrong with viewing our trade through rose-tinted glasses, just preferably not when that rose-coloured glass is filling a ruby. All images in this article are copyright Gem-A. Photos: Jack Ogden.

The Voice of the Industry 47

| Opinion : John Henn

Mont Blanc remains unconquered by me... …but a big thanks to all of you who sponsored me! obert Osborne, my climbing companion, and I contributed around £5,000 to The Royal Marsden Cancer Campaign – every bit brings a solution a little closer. If you feel after reading this we have earned it, you can still donate online via www.justgiving.com/ JohnHenn-Mont-Blanc or just have a look at the pictures. I’m not sure I can relate this story to jewellery in any way, but hope you enjoy reading the account of our longest day. The alarm went off in the Cosmiques Hut at 1am. 1,400m below the summit of Mont Blanc about 30 of us – of all nationalities including just two English – kitted up with all the required hardware including, crampons, ice axes, transceivers, and Kendal Mint Cake, filed out into the night. We were just four in our group: Robert and I and our guides Miles and his wife Liz. Soon we were in the middle of a column, like glow worms twinkling in the dark along our route up the face of the first glacier. (With ‘skins’ stuck to the underside of our skis we are able to slide forward but not back). After the first couple of hours the orange moon sank below the cloud as dawn began to seep into our frozen world. Not frozen enough it seemed. As we zigzagged across the paths of fallen blocks of ice the size of transit vans, the skis came

48 The Jeweller July 2010

off and the crampons went on – we were now sinking up to our knees in the soft snow. Mini bite-sized sandwiches stashed in the front of my jacket were by now rock hard and completely inedible – I didn’t get much more joy from the Mars bars as they fractured into a million pieces. We should have done the British thing at the top of this glacier and stopped for a brew, but on we went to descend 100 hard-won metres to a short plateau before the next part of the ascent. In front of us was another difficult three hour climb. The top section was too steep for skis, putting us back onto crampons, ending with a 70 degree, 100m climb with ice axe and crampons. The start of this stunt was to jump at the ice, taking a swipe with the axe to stop slipping backwards while your feet try to find grip. Skis on our backs along with the rest of the kit there was no going back. Miles took the precaution of attaching us to something solid. I took the literal leap of faith and everything caught as I landed like a splat. So focused were we that it never occurred to us to look behind. Liz’s photo shows Chamonix waking up 11,000 feet below. By now after 10 hours there was very little left in the tank and after descending another

125 metres we sat down on the last plateau before the summit. We were finished and we knew it. In the interest of us both returning home, this time we were not going to stand on the top of Europe’s highest mountain. At 4,350m, 460m short of the summit we turned away. We had covered 90 per cent of the distance, and crossed the previous two peaks. We felt sick at letting our supporters and sponsors down, but secure in our decision. The ski down was no walk in the park – a lot of ‘breakable crust’, where a ski can break through the surface crust usually resulting in you performing a somersault; many very exposed ‘don’t fall here spots’; some rather scary seracs (blocks of creaking ice just waiting to tumble) and, of course, the crevasses. We were skiing roped together through the worst places, peering down into the depths of the monster as we silently passed overhead. The final step was the hour long crosscountry traverse to the ski lift to return to Chamonix. Now below 2,300m with snow better served in a cocktail than under foot and with home in sight, Robert was caught

We should have done the British thing at the top of this glacier and stopped for a brew, but on we went… in a small slide. He got very wet and stayed on his skis, but still sustained a nasty tear to his calf muscle, resulting in a painful last kilometre home. We had a beer; Miles drove us to our hotel; we had a big meal, which we couldn't finish, then slept for a very long time. We stretched ourselves physically to the limit. Somehow we are pleased that the mountain is not easily taken… and we are determined to try again in the future. It seems the depth and temperature of the snow was our biggest obstacle, apart from the moral killer of descending down each of the first two peaks after just scaling them. Thank you again to the manufacturers, retailers and individuals who helped push us so far. Hopefully next year we will be back fuelled with better food and the benefit of experience, and of course Kendal Mint Cake, without which we would still be out there.

| Antique Jewellery I n

a s s o c i a t i o n

w i t h

F e l l o w s

S o n s

Antique JEWELLERY The Jewellery Duke Twentieth century society jeweller and Italian duke Fulco di Verdura has always been best known for his work with Chanel. However, with interest in the Verdura name and collectibility of his elegant jewellery steadily growing, Jo Young takes a look back at his remarkable life. ulco di Verdura, or to give him his full title, Fulco Santostefano della Cerda, was one of the best loved jewellers of high society throughout the 1930s and 1940s. He collaborated with some of the most famous and best loved names of twentieth century fashion – most notably, Coco Chanel, for whom he designed jewellery for several years – was courted by Hollywood during its most heady, glamorous and decadent years, and, something of a playboy himself, enjoyed the company of famous artists, socialites and sophisticates from Tallulah Bankhead to Salvador Dali.

Drawing for a clamshell compact, made with sapphire and diamond ‘seaweed’ on its lid.

50 The Jeweller July 2010

Meeting Coco Verdura immediately threw himself into the social scene of 1920s Paris – so much so that, according to Verdura’s biographer Patricia Corbett, his “pockets were [soon] a little empty”. Luckily, however, he was, by all accounts, a very charming man, with the kind of ready wit and humour that made him a bit of a social darling, and gained him many valuable and influential friends. Of course then, as now, one’s connections are everything in life, and it was through Verdura’s social connections that he got his first major break into the fashion and jewellery world. Through his good friends, the composer Cole Porter and his wife Linda, who he had first met in 1919 when they honeymooned in his native Palermo, Verdura was introduced to the legendary Coco Chanel, landing himself a position at the company’s Parisian studio, as a textile designer and later as a jeweller. He described her, simply, as “the most chic woman I ever met”.

Background Verdura was, it is fair to say, not brought up in poverty-stricken obscurity. Born into Sicilian aristocracy in Palermo in 1898 – his cousin was writer Prince Giuseppe di Lampedusa, author of the famous Italian novel The Leopard – Verdura enjoyed a languid, priviledged early life. Spoilt terribly by his indominatable ‘granmamà’, young Fulco enjoyed all the trappings of wealthy upper class life until the death of the family matriarch and the resultant squabbling saw him lose most of his expected inheritance; when he was 17 he was then enlisted to fight in the first world war, from where he returned, injured, to Sicily until the end of the war. However, unlike many of his aristocratic contemporaries, Verdura was not destined to spend a lifetime in bored luxury with dwindling funds and without proper purpose. From childhood, he had shown an easy talent for drawing and design, and in the 1920s – having inherited his title upon his father’s death in 1923 – Verdura left the confines of Sicilian society, enthusiastic (like all good artists) about experiencing the creative inspirations of poverty, the freedoms of big-city life and with vague aspirations of becoming an artist.

‘Caged’ ring of bombé design, the openwork gold domed cage filled with variously-shaped blue topaz, mounted in gold. Photo: Christie’s Images Ltd. 2010

The Verdura Style It was while working for Chanel that Verdura first developed his jewellery style – which was naturalistic and – for the time, unusually – organic, but which was nonetheless sufficiently elegant and traditional to remain appealing and wearable to Chanel’s wealthy, chic clientele. Through his collaboration with the canny (and surprisingly experimental) Coco Chanel, Verdura helped to take jewellery trends of the 1920s forwards from the somewhat rigid, uncomprising and often ‘mechanical’ aesthetic of the Art Deco period, into something softer and more natural. One of his signature motifs, which he used repeatedly throughout his jewellery-making

Antique Jewellery |

Fans of Verdura Coco Chanel It was Chanel who helped to kickstart Verdura’s career as a society jeweller, but she was also a fan of his work herself. She was keen on pieces of jewellery that mixed and matched precious materials with non-precious in bold and highly creative ways, and was often photographed wearing Verdura’s signature cuff bracelets.

An 18k gold chain link bracelet, suspending a heart-shaped amethyst. Photo: Christie’s Images Ltd. 2010

career, was seashells, which he often elaborately encrusted with precious coloured gemstones. Then, it is worth remembering, such a thing (the merging of natural materials with fine jewellery-making ingredients) was just not done within mainstream fashion. Together, Verdura and the French legend of couture helped to move fashion forward in that iconic decade, and to change the way women wore their jewellery. Before Chanel came along, it was fairly unheard of for a woman to mix and match fine jewellery with the cheaper stuff. For Chanel, however, this approach to jewellery wearing was a nonsense; she wanted jewellery pieces made with bones, feathers, even plastic and sequins, but she wanted women to wear them together with their ‘good’ pieces. “A woman should mix fake and real. I find it disgraceful to walk around with millions around your neck, just because you’re rich. The point of jewellery isn’t to make a woman look rich but to adorn her; not the same thing,” she is reported to have said. Consequently, Verdura was able to set new trends in jewellery design and wear. He was one of the first designers to make it fashionable to wear diamonds during the day and the evening – such a thing would previously have been considered a little crass – and was also one of the first designers to set coloured gemstones in yellow gold. At the time, the standard was for diamonds to be set in platinum. As well as features from the natural world, Verdura was inspired in his designs by more cerebral influences – such as Christian and Ancient Greek iconography and the striking repeated patterns of Byzantine art. It was

Tallulah Bankhead The fabulously naughty bad girl of early cinema, Tallulah Bankhead was one of the most famous women of her day, and was a friend of Fulco di Verdura’s with whom he would Verdura showing his cuff go drinking in the bars and pubs of Soho. bracelet to Coco Chanel, 1935. Hepburn, Garbo and Crawford The actresses Greta Garbo, Joan Crawford and Katherine Hepburn – who wore Verdura’s jewellery in her classic 1940 performance in The Philadelphia Story with Cary Grant – were all fans of Verdura, and all were photographed a number of times wearing his pieces. The Duchess of Windsor The German-American photographer Horst P. Horst famously said – in possibly one of the finest backhanded compliments I’ve ever heard – “Verdura alone knew how to make her a duchess”. Cole and Linda Porter Lifelong friends and supporters, the Porters owned vast quantities of Verdura’s work. Linda Porter commissioned a custom-made cigarette case to celebrate each opening of Cole’s musicals.

the latter of these influences that brought about the design for Verdura’s famous Maltese cross cuffs. These bold-looking bracelets became a signature look for Chanel, who wore them often. It was pieces like these cuffs that summed up, really, what Chanel’s taste was all about: made in eye-catching materials, such as gold-studded ivory, and set with bright cabochon gemstones, this was the true opposite of the delicate jewellery that was then being produced by Cartier and

A pair of mabe pearl, diamond and gold ear clips. Photo: Christie’s Images Ltd. 2010

other big name jewellery houses. Again, it falls to Chanel herself to perhaps say it best: “A jewel should not be meager,” she once remarked. Indeed.

I want to be in America Of course the time eventually came for Verdura to step out independently from Coco Chanel’s stewardship, and in the early 1930s, as she was in the throes of business concerns of her own, he decided that the time was ripe to make a move. The luxury trades of Paris were, by this stage, beginning to really feel the pinch following the devastating Wall Street Crash of 1929, and, though the social whirl of life continued for folks like Verdura and his contemporaries, some of the shine must have been coming off for them. At this stage, Verdura began flirting with the idea of Hollywood – considering a technical advisory job on the ‘period’ movies that were ludicrously popular at the time – and along with a gaggle of other similarlyminded, disillusioned aristocrats, he set off for the US in the autumn of 1934. Following (naturally) a leisurely tour of the country, from Hollywood to Palm Beach,

The Voice of the Industry 51

| Antique Jewellery Verdura settled in New York. Interestingly, he had abandoned all plans for a glittering movie business career upon finding that – probably for the first time in his life – his aristocratic Sicilian connections were not as socially powerful in California as they were elsewhere. Anti-Italian sentiment was strong throughout the US at this time, and after waiting months for the phonecall from Hollywood, he got fed up and went back to business. Calling, once again, on his influential friends, Verdura’s US career began when he was introduced by Chanel client Diana Vreeland to the society jeweller Paul Flato. Verdura brought his signature motifs to Flato’s customers – pieces that mixed precious and semi-precious materials in organic, romantic or classically-inspired shapes – and before too long, Verdura’s work was being worn by most of the leading ladies of the day, the likes of Joan Crawford, Jean Howard, Greta Garbo and Katherine Hepburn all stepping out in Verdura jewels. In 1939, Verdura opened his own showroom on Fifth Avenue in New York. Much as he had done in Paris, he charmed his way easily into New York society, and established himself as an important jewellery name within the city. Once again, he cultivated friends in high places – counting the Astors and Vandebilts, Marlene Dietrich, Orson Welles and the Duchess of Marlborough as among his mates.

The later years During the 1950s and beyond, Verdura showed little sign of slowing down creatively. He began, however, exploring objets d’art and small piecework, like cigarette cases (now highly prized by Verdura collectors), makeup compacts and small scuptures. Some of the jeweller’s more unusual pieces during this time had maritime themes, including more shells and seahorses, as well as other small animals, insects and fruits, most notably, pomegranates, prickly pears and other native flora and fauna remembered from Sicily. Verdura, who never married and never took up American citizenship, remained in New York until 1973 when, at the age of 74, following a road accident, he sold up and decamped to a flat in Eaton Square in London, a city he had always loved. He was plagued thereafter by ill health, and died in

52 The Jeweller July 2010

The Verdura name today

Verdura’s amoeba brooch, set with rubies and diamonds, 1940.

August 1978, but what short retirement he did have, Fulco used to write his autobiography, The Happy Summer Days, a fond remembrance of his childhood in Sicily.

In the US, Verdura’s name was always an important one and as such, was deemed sufficiently iconic to warrant proper resurrection just a decade or so after the Duke’s death. In 1984, Verdura’s New York store was taken over by new ownership, and an entire collection of jewellery pieces created from the approximately 4000 sketches and paintings said to have been left by Verdura in the archives. This ’new’ Verdura jewellery is also now making its way steadily back into fashion, and – in a development that would no doubt have delighted Fulco himself – it is regularly seen on today’s celebrity elite. I

Whittaker’s World The last of a generation? I am sure that there will be far better tributes paid to Michael Norman than I will ever manage but nonetheless, as an ‘outsider’ to the ‘black arts’ of the world of IRV, I feel compelled to mark his sad passing with a short comment. The enduring image of Michael I will always have is of a big man – ‘big’ in size, yes, and ‘big’ in his warmth and kind heartedness to others, but more importantly ‘big’ in his desire to pass on his knowledge and enthusiasm and to persuade others to adopt his professional approach to valuing jewellery. His crusade wasn’t a lonely one – others before him contributed a lot and the mantle will now fall to others equally able. As a casual observer of the growth of the success of IRV and the Loughborough Conference, I have watched the sterling efforts of ‘the few’ who labour away to achieve this – to those who benefit from the hard work that is quietly going on in the background, I simply suggest that now is the time to more actively engage in this process. It is your industry and perhaps more importantly the visible improvements in professionalism propounded by the likes of Michael will provide you with a future. Is he the last of a generation? I think Michael would hate that idea… I suspect he would want to be remembered as one of the guardians of everything that is good about valuers in the UK, and he will be watching over all of us to make sure that we carry forward what he (and others) aspired to! Stephen Whittaker is the Managing Partner of Fellows & Sons, specialist auctioneers of Jewellery, Silver, Watches and Fine Art based in Birmingham’s Jewellery Quarter. He can be contacted on 0121 212 2131 or stephen@fellows.co.uk

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The Voice of the Industry 53

| Insurance Matters

Time to take stock

•

Inadequate stock records are the most common cause of delay in settlement of an insurance claim. Neil McFarlane of T.H. March explains the details of insurers’ requirements for stock records. t is sometimes argued that insurers should take the values claimed against items on trust alone. We disagree. In effect, insurers are trustees of premiums for the benefit of all whom they insure. Taking values on trust would make them vulnerable to the fraudulent minority in the trade and could encourage poor stock records and accidental over or under-claiming. This would lead to an inevitable rise in premiums for everybody. As a result of the diversity of stock record systems in use and variations on the way they are used, we cannot ‘approve’ any system or individual client’s method. That is for an accountant to do, not an insurance broker. However, we can offer guidance: • The policy will contain a condition that you keep detailed records of all sales, purchases and other transactions and that those records will be available to the insurer representatives in the event of a claim. • The above condition applies not only to your own stock, but also to customers’ goods and money. • Most insurers do not expect you to value each of the goods you hold for

•

• •

•

Stock taking with mobile scanner provides accurate results in hours rather than days or weeks thereby reducing the costs, effort and errors. Images of stock, available at the touch of a button, helps find missing items quickly while the simple traffic light system used by the Bransom BSMART system, with full auditing, ensures stock checks are manageable and missing stock easily traceable. Images this page courtesy of Bransom Systems

54 The Jeweller July 2010

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repair. At a minimum you need a record of the numbers of such items taken in and a brief description of each. Some jewellers do this by taking a photograph, or by spreading the items out on a photocopier, according to which items have been sent to which outworker and when and, importantly, which have been returned to the customer. See also the NAG’s recommended Taking in Procedure for valuations. If you sell customers’ jewellery on commission, keep a record of the prices at which items are offered, any reserve price if there is any leeway on the offer price, and the agreed commission. Log the movement of items between different branches. Computer systems are only as good as the training of the operator and the data entered. It is important that your physical stock take is fully reconciled to the computer record, otherwise computer errors can accumulate to make even the best system unreliable. If you manufacture or hold a stock of materials for repairs, keep records of your purchases of such materials, but also keep a job sheet for each time to show what materials you have used. Suitable recording methods for sales stock will depend on the type of stock and your trading methods, e.g. itemised computer records, stock books with sales marked off by date or, if a class or goods can be valued by weight, a log of weights sold and the date. If you carry goods away from the premises, don’t keep the only record of those goods and items sold from the range in the bag in which you carry them.

•

Log entrustments to customers, and if you have undertaken to use formal appro notes for outgoing entrustments, make sure you do so. If proprietors or staff entrust personal property to the business for sale, repair or safe keeping, ensure that it is properly documented; otherwise your insurers may insist the owner claims on their own policy. Most jewellery trade insurers require notification of goods held solely for safe custody. If recording large numbers of low value items is a problem, discuss it with your broker. There may be some simplification acceptable to insurers.

A full audit trail not only allows you to view movements in a variety of ways, including by stock no., process date and document no., but also simplifies traceability. Viewing the details reveals who dealt with any movement, time stamp and even has the option to view the scanned document.

Do not rely on: • Memory • Photographs of your shop window. Values change and you cannot track sales between photographs. Nor will a photograph show the identity of individual pieces. • VAT or turnover alone. They may be good enough for HMRC, but they do not meet the policy conditions. Good stock records avoid customer disputes, enhance management information and profitability, and speed up the settlement of insurance claims T.H. March & Co Limited is a well-established family owned firm of insurance brokers founded in 1887. With offices in London, Birmingham, Manchester, Glasgow, Sevenoaks and Yelverton near Plymouth, the company has departments covering household, motor, life and protection, travel, commercial and scheme insurance. To find out more visit: www.thmarch.co.uk

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The Voice of the Industry 55

NAG Institute of Registered Valuers R

Michael Norman FGA (1933-2010) ost of us can recall our school days and along with memories, some teachers are remembered with affection and even admiration. Those remembered best didn’t lecture, but guided us through their chosen subject with enthusiasm and encouragement. They fired our imagination, our curiosity and, above all, instilled in us a desire to learn. So it will be that Michael Norman will be remembered fondly by all who, figuratively, sat at his feet during his valuation tutorials and seminars. With his passing the trade has lost a man whose career and accumulated knowledge had an immense impact on all of us who knew him. To those of you who never met him, let me try to introduce him to you. Michael – never Mike nor Mick nor any other diminutive – was a large man, standing over six feet tall, with a powerful voice to match his imposing frame. His voice was rich in tone with an endearing West Country accent acquired from living in Bath since the age of seven. Born in Corsham his family moved to Bath in 1940 where they lived in probably the most prestigious address in that city – No 1 Royal Crescent. He lived in and around that city for the rest of his life. He joined the jewellery trade when he was apprenticed to the Bath firm of Dickinsons and, in common with many men of his generation, his career was interrupted by National Service. He joined the Army, eventually serving in the military police. He was well suited to the job being clearly the right size and must have been an awesome

56 The Jeweller July 2010

sight to transgressors! He thoroughly enjoyed his time in the Army, so much so that he seriously considered making it his career. However, fortunately, he chose the jewellery trade – so Captain Michael Norman joined his father at the Bristol firm owned by Mr. Chilcott. His father was the manager and on his retirement Michael succeeded him. Following Mr. Chilcott’s death the firm was acquired by the Northern Goldsmiths and Michael left to establish his own business as a specialist valuer. Having obtained his FGA in 1960 Michael was the ideal man, alongside the late David Wilkins, to run the NAG’s valuation seminars which began in 1975. David and he travelled all over the UK and Ireland with

Michael was a regular guest speaker at the Loughborough Conference, in 2007 giving a presentation on how to avoid legal problems.

their seminars, which were very successful. This would be many people’s first introduction to a structured approach to their valuations. Michael and David were invited to join the NAG’s working party to develop a national scheme to regulate the work of valuers This lead to the establishment of the Registered Valuers Scheme, with which both men are indelibly linked. It is now the NAG’s Institute of Registered Valuers. It must be 30 years ago that Michael and I first met. We quickly became good friends and I treasure all those years. However, it is over the last 10 years or so, when he and I worked closely together helping to moderate the work of those who were monitoring the work of registered valuers, that we really came to know each other well. We attended the Valuation Committee as observers and had the greatest respect for each other’s views. I am not sure whether I enjoyed more being in agreement with him or holding an opposing view! Sadly our ‘joint venture’ was cut short after Michael suffered his first stroke in 2008. Michael’s two abiding sporting passions were cricket and rugby – having played both for much of his youth. Unlike many who retire from the game and take a back seat, Michael continued to give support by umpiring. He was so addicted to the game of cricket that he regularly supported England by travelling to such places as South Africa and Australia for test matches. But life can be cruel at times and this was particularly so for Michael. His serious stroke meant that he lost the power of speech and this was devastating for a man whose greatest talent was his ability to communicate. However it did not rob him of his sense of

IRV Review | humour and this was very evident when Jonathan Lambert and I visited him in the nursing home where he was to spend the last 15 months or so of his life. We travelled there for Jonathan to present him with the inaugural award of the Michael Norman Fellowship of the NAG’s Institute of Registered Valuers. Already having been awarded the trophy named after his great friend David Wilkins, this new award was established in his name to recognise ‘an individual who has given outstanding service throughout their career in the sphere of jewellery appraisal and valuation and in particular to the Institute of Registered Valuers’. For his family members, Jonathan and me, it was a very moving, joyous occasion, made all the more so as Michael knew nothing of the Fellowship, let alone that he was to receive it. There have been many tributes to Michael, all saying how much each person owes to him since they came into his sphere of influence. Now it is my turn and I do so with a heavy heart, but not because Michael’s life has been taken, for that was inevitable one day. Yes, we all feel the sense of loss but we had grown used to that because we had already ‘lost’ Michael following his stroke. However, I am one of the lucky ones to have enjoyed the warmth of his smile, his huge laugh, and experienced his kindness and consideration. Shaking his hand was always something of a challenge, as he had a very large hand, and you anticipated possible broken fingers! However, while he

It was the most perfect day for a game of cricket as we laid a very special English gentleman to his rest. God bless you Michael – our gratitude goes with you. David J. Callaghan FGA, NAG Vice President ichael Norman, along with his great friend and colleague David Wilkins, can undoubtably be considered one of the founders of the original Registered Valuers Scheme. It was a great benefit to us all that Michael was able to be involved with the development of that scheme into the current Institute of Registered Valuers. His wise words and unrivalled experience influenced us all and our current successes are in no small part due to Michael’s passion and dedication to the science of valuations and to the jewellery trade as a whole. As a trade we owe him a great debt of gratitude and with his passing the jewellery trade and indeed the world is a poorer place. For my own part I have lost a valued colleague, an unstinting supporter, a trusted adviser but most importantly a true friend. I was so pleased that we were able to honour him last year with the Michael Norman Fellowship and it was one of the proudest and indeed most emotional moments of my life to be able to present it to him on behalf of the Institute. God bless you Michael and thank you. Jonathan Lambert

His wise words and unrivalled experience influenced us all and our current successes are in no small part due to Michael’s passion and dedication to the science of valuations and to the jewellery trade as a whole. certainly knew his own strength, he could never have measured the strength of affection and respect in which he was held by all who knew and worked with him. On 3rd June over 150 people gathered at a hilltop chapel on the outskirts of Bath to say goodbye to Michael. It was particularly fitting that the first hymn we sang was to William Blake’s familiar words beginning: And did those feet in ancient times walk upon England’s mountains green? The English countryside was at its best – the sun shone on us all, just as his personality did.

ichael seems to have been around as long as the jewellery trade has existed – a sort of figurehead, the chairman of the board to most of us. His presence always meant several things; there would be dialogue, one of Michael’s favourite words; you were guaranteed many funny moments as his sense of humour was always to hand, and definitely a few digressions to discuss the cricket or rugby. Above all you would get the benefit of his wisdom and enthusiasm on whatever subject he was teaching or advising.

Michael receiving the Michael Norman Fellowship award from Jonathan Lambert (front) and David Callaghan (back).

I got to know Michael properly in 1992 when he became the appraisal advisor for the development of the valuation software ‘Appraiser’ now ‘GuildPro’. His input was immense. It ran into many months of work and continued refinement over the years – in order to get the flow and terminology right – which is a testament to his belief in what was thought at the time to be a project too far for the traditionalists of the trade. His irrepressible optimism for the trade he served so diligently over his lifetime was always near to hand; in the many meetings we shared when Michael was in the chair no-one would interrupt his flow as he commanded their attention and respect. I have never heard a bad word said about Michael in all the years – not that he didn’t ruffle a few feathers at times, and deliberately make his fellow committee members feel his presence and will over various subjects dear to his heart. Michael has been a true and loyal friend and been inspirational in what I – and I know many others – have achieved. His enthusiasm was infectious and whoever he came into contact with could not fail to be impressed by this, along with his honest opinion and of course his laugh, his louder than life laugh. We all shall miss him, but he will remain with us on a daily basis, as he has touched so many of us in so many ways too numerous to mention. Michael was one of a rare breed – ask anyone that knew him to describe him and they would say Michael was a true gentleman. Christopher Milton Stevens

The Voice of the Industry 57

THE CHRISTMAS HOLIDAYS ARE TOO LATE....

....TO START TRAINING YOUR STAFF START NOW TO SQUEEZE EVERY DROP OUT OF THE FESTIVE SEASON A student who enrols on the ﬁrst part of the Professional Jewellers’ Diploma now could have ﬁnished by this Christmas and could have passed JET 2 and mastered all the practical skills that a retail jeweller requires by next Christmas.

OUR CONTACT DETAILS The National Association of Goldsmiths 78a Luke Street, London EC2A 4XG Email: jet@jewellers-online.org Tel: 020 7613 4445 (Option 1) Download a JET Course prospectus at www.jewellers-online.org

L ATE ST

N E W S

F R O M

TH E

E D U C ATI O N

NAG relaunches Christmas campaign The NAG’s Education and Training department has once again launched its ‘Christmas is too late to train your staff’ campaign following the success of its Christmas-themed stand at International Jewellery London in September last year. he NAG’s Education and Training department has once again launched its ‘Christmas is too late to train your staff' campaign following the success of its Christmas themed stand at International Jewellery London (IJL) in September last year. “July may seem way too early to be thinking about Christmas,” says NAG Education and Training manager Victoria Wingate, “but jewellers really need every member of staff working to their full potential at the busiest time of the year. A student who enrols now on the first part of Professional Jewellers’ Diploma could have finished [the course] by this Christmas and could have passed JET 2 and mastered all the practical skills that a retail jeweller requires by Christmas 2011.” It is hoped that the campaign will encourage jewellers to think about their training requirements earlier, rather than think about their education and training needs when it is too late – which has often been the case in the past. “The campaign is just a bit of fun to highlight a serious issue,” adds Victoria. “Ill-informed staff will not only lose sales, but can cost reputation and repeat business. It’s really about assessing your business needs now so you can capitalise on the most productive part of the year.” Last year the Yuletide theme involved plenty of mince pies and sherry and we promise even more Christmas goodies are planned for IJL later in the year, including festive raffle prizes, a Christmas cake and a Christmas tree... with a difference. IJL will also mark the conclusion of the NAG’s 65th anniversary of education celebrations and will see the launch on online courses and the newest JET course – JET Pro. IJL will be held at Earl’s Court in September.

D E PA RTM E NT Birmingham Assay Office offers NAG hallmarking seminar he Birmingham Assay Office is offering a hallmarking seminar to all JET 1 and JET 2 students, as well as all NAG members. Designed to broaden students’ knowledge of hallmarking in the UK, the half day course will include an interactive hands-on hallmarking session, an overview of the UK jewellery market and a summary of the UK Hallmarking Act. The seminar will be held on Tuesday 20th July at the Birmingham Assay Office from 10am to 1pm with Marie Brennan and Dr Sally Baggott. The course will also cover understanding the Hallmark; testing methods used in the hallmarking process; tooling and hallmarking; convention hallmarks, Houtwipper Compliance and the history of hallmarking. The course fee is £50 per delegate. “This is a great opportunity for students” says Victoria Wingate, NAG Education and Training manager. “Hallmarking is almost always raised by examiners as the area where students let themselves down most in the exams, so any extra help students can get would be invaluable.” For more information about the seminar please contact the Birmingham Assay Office on telephone: 0121 236 6951 or email: gem@theassayoffice.co.uk

Yet another charity run success for JET tutor Eddie Stanley ongratulations to tutor Eddie Stanley who recently completed the BUPA Manchester 10 kilometer Charity Run along with 9.000 other competitors in his section. “I really enjoyed the run and had a steady pace all the way. I’m not bothered about the time,” says Eddie, who was running for the Stroke Association and raised over £200. Eddie who has completed five marathons, one 15 mile run and five 10 kilometer events. His next 10k will be on 4th July. To donate to the Stroke Association send cheques made out to The Stroke Association to Eddie who will forward them on.

The Voice of the Industry 59

| Education + Training

JET tutorials fully endorsed by students According to recent figures, JET students overwhelmingly endorse the tutorials for their usefulness. Feedback from the spring JET tutorials earlier this year found that 100 per cent of attendees found them to be beneficial, with the same number describing their tutor on the day as supportive.

”

found the tutorial extremely helpful, giving an insight as to what to expect on the day of the exam,” commented one JET student in the anonymous survey. “Extremely well taught class… very clear and interesting,” remarked another student. Tutors were also highly praised in the survey. “I found Brian [Dunn] very helpful, funny and extremely approachable,” said one attendee, while another thanked Anne Bray: “Anne genuinely cared. It was good that she picked up on what people were worrying about.” In the questionnaire which was sent out earlier this year to help encourage all JET

60 The Jeweller July 2010

To calm exam nerves, make sure you attend a tutorial – they are free and you then have an insight into what to expect in the actual exam.

the gemstone section of the day especially constructive. JET 2 students were also asked if they had felt the tutorial had helped prepare them for the exam, with a resounding 100 per cent of exam candidates agreeing that the day had been worthwhile. “I found the tutorial very useful and it will help me in doing my exam in May, as I know now how much I have to do,” explained one JET 2 student, while another added “I’m glad we looked at hallmarking, it saved a lot of anxiety in the exam”. These findings reflect past NAG reports that demonstrate that the students who attend tutorials do significantly better in the JET examinations than those who don’t; although it is too early to report how well the respondents of this survey have done in their exams. “To calm exam nerves, make sure you attend a tutorial,” advises tutor Mark Houghton. “They are free and you then have an insight into what to expect in the actual exam.” On the whole, students were also happy with the location of the tutorials. JET 1 and JET 2 tutorials take place in a number of venues across the country including Belfast, Birmingham, Edinburgh, Stockport, Leeds and London. All attendees said that they were either happy or reasonably satisfied with the location, although one student did suggest “more biscuits” for future tutorials! Additional locations may also be included explains the NAG’s Education and Training manager. “We are happy to organise tutorials in other locations if there are enough students, who wish to attend. We generally need six students to attend to make a tutorial feasible to run.” It is hoped that the on-going survey will assist the NAG to continue to provide the best possible service as well as relevant and appropriate programmes of study to all its students.

Tutorial dates: JET 1 Belfast or Dublin – 20th September

students to attend one of the free day-long tutorial sessions, those surveyed were also asked which subject areas they found particularly useful. Almost half of respondents felt the time spent on hallmarking was particularly useful, while 31 per cent found

Birmingham – 16th September Edinburgh – 13th September Leeds – 20th September London – 14th September Stockport – 14th September

The only trade title with the exclusive support of both the NAG and the BJA The Jeweller is the only trade title to enjoy the unrivalled support of both UK trade associations, the National Association of Goldsmiths (NAG) and the British Jewellers’ Association (BJA). This gives the publication a broader appeal right across the industry for all retailers, suppliers, manufacturers and designers. Editorial includes news and comment from both associations which reinforces The Jeweller’s position as the ‘Voice of the industry’. Now published ten times a year and with a controlled distribution to members of the NAG and BJA, the magazine targets influential industry decision makers. These factors, along with a competitive rate card all keep The Jeweller one step ahead of its rivals and ensure a cost-effective vehicle for advertisers. Contact Ian Francis at CUBE Publishing on 020 7833 5500 or email: ian@cube-uk.com to discuss how The Jeweller can raise your profile in a competitive marketplace. For subscriptions telephone Amanda White at the NAG on +44 (0) 7613 4445 or send an email to her at: thejewellersubs@jewellers-online.org

The Voice of the Industry 61

| Education + Training

Meet the tutors:

Mark Houghton How much do you know really know about the tutors guiding you through the JET courses? In this occasional feature The Jeweller will get the lowdown on these industry mentors. First up is newest tutor Mark Houghton who talks confidence, Churchill and cuff links.

Biography in brief: Position: Birthplace: Family: Home: Qualifications:

Current job: Hobbies:

Plus:

Tutor Newcastle-upon-Tyne Married, three children York JET Diploma, 1981; FGA Diploma 1983; GA 1984; Management 2003; Registered Valuer Manager of Fraser Hart, York branch Fly fishing, gemmology, football (alas watching not playing), reading Branch chairman of NE branch of Gem-A

What tip would you give a new student? You can’t avoid hallmarks, so thoroughly learn the notes in the front of Bradburys. It’s small enough to go in your pocket and ten minutes study each day while travelling to work will soon get you familiar with its layout. What’s your favourite item of jewellery? Cufflinks. I don’t feel fully dressed without them. Also I find you do convert a lot of cufflink sales just by the fact that clients see them in your cuffs.

How long have you been an NAG tutor? Since August 2007 What drew you work for the NAG? I spent a few years teaching the FGA course at Central Manchester College when living in the North West (alongside fellow tutor Eddie Stanley). Now that my children have gone to university and college I have found time to return to education and hopefully give back some of my years of experience within the jewellery trade. How long have you been in the industry? Thirty years – the last 21 have been with Fraser Hart and the first nine were spent in the North West. It was in Manchester that I studied for my JET, FGA & DGA qualifications and our current chief examiner, Eddie Stanley, was my tutor.

62 The Jeweller July 2010

What made you choose jewellery as your career path? I was lucky enough to get a Saturday job at Mappin & Webb while doing my A-levels and became hooked on jewellery and gemmology in particular. Why should people study a JET course? It provides a unique, all-round high skill level of knowledge; and a JET Diploma is a highly sought after qualification by employers. How would you describe the JET courses in one word? Invaluable. What is your top study tip? Do short sessions of regular studying (around four times a week) and stick to your timetable!

What’s the best thing you ever bought? Cufflinks from Tiffany in New York. They’re a classic oval design in sterling silver and are engraved Please return to Tiffany & Co New York, which is what I intend to do in the future – I could have stayed there all day! What is the best thing about JET courses? They build up your confidence to convert more sales which in turn improve your status. Plus the end reward of seeing students being presented with their diplomas in the fabulous surroundings of Goldsmiths Hall. And the worst thing about them? When students excel in passing JET 1, but don’t continue their studies to the diploma level. If you could tutor anyone from history, who would it be? Winston Churchill – I’m sure his assignments would read like his speeches and he would highlight the human effort that goes into making the jewellery we sell.

APPOINTMENTS We have vacancies for the following skilled craftsmen: • jobbing jeweller with excellent ring sizing skills • jewellery polisher • stone setter

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AF99@E> >FC;JD@K? Our workshop is based in the South East of England. If you would like to join our team of craftsmen please e-mail your C.V. (including your contact telephone number) to:

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RECRUITMENT Are you looking to recruit staff for retail, manufacturing, design, sales, jobbing, management, admin and finance? Advertise your jewellery and watch vacancies in The Jeweller magazine Appointments section and on the Jeweller Recruitment online site (www.jeweller-recruitment.co.uk) simultaneously at very competitive rates. Call Ian Francis on tel: 020 7833 5500 or email him at: ian@cube-uk.com to book your recruitment advertising in The Jeweller magazine.

ESTABLISHED LONDON CITY JEWELLERS REQUIRE: DEPUTY MANAGER / SALES CONSULTANTS We are seeking to recruit first class staff for our jewellery store that can maximise business, have a proven track record of selling high value jewellery, and a high standard of diamond knowledge. Candidates must have an outgoing personality, be articulate, confident and immaculately presented. Excellent, negotiable package including commission and bonus. Please only apply if you have fine jewellery experience and excellent relevant references. Immediate start, please send your CV with cover letter to: beverleyhillsjobs@gmail.com

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Last Word This month, the honour of The Last Word is bestowed upon Nicholas Major, chairman of the NAG and owner of William Major & Sons, East Grinstead. Personal Profile Having started his apprenticeship in the workshop of the family business in 1965, Nicholas went on gain horological and jewellery repair skills and then trained as a retail jeweller. Several qualifications followed – the most recent being made a fellow of the Institute of Registered Valuers. He has also, in his time, been: the sole agent and distributor for a Swiss watch maker; a jewellery claims consultant for the insurance industry; chairman of his town's Chamber of Commerce and president of the East Grinstead Tennis & Squash Club.

How would you describe your personal style? Hands on – I think I am willing to have a go at anything, but perhaps you should have asked my wife this question. Where is your favourite holiday destination? Why? We have always had a dog and I love holidaying in this country, enjoying the countryside and walking. Having said this some of our best family holidays have been bareboat sailing, particularly off the coast of Turkey. In the past I have always been the skipper, but I have two boys who vie for the position now. What three words describe you best… in your view and according to others. Receptive, calm and determined, but those that know me very well, may have witnessed me exploding occasionally! I am not easily rattled, but it has been known. How do others view me? Well I hope trustworthy, dependable and sympathetic. Looking back at your career, what one thing would you do differently if you had your time over? Listen to my father more!

66 The Jeweller July 2010

Tell us something not many people know about you… Given the opportunity I love to take part in track days, racing my Morgan +8, which I usually manage at least once a year. This is of course best done solo so Jane does not restrain me from testing its performance!!

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If you could wave a magic wand and change one thing about the jewellery industry, what would it be? That British-made goods were promoted more. Normally the quality is so much better than goods bought abroad and the after sales service is superior. I also like the old fashioned values in business, when trust and loyalty meant more. Too often today we see some suppliers demanding unreasonable requests from the retailer and also dealing with the public direct. As a trade we should

boycott these suppliers and deal only with those that offer good quality merchandise and the service we expect. Do you know the price of a pint of milk? My wife tells me it is 59p!! To what do you attribute your success? Hard work, traditional values, sense of fair play, determination and the backing of family and friends. I have a family wedding this year and a very good friend who was in a similar family jewellery business is travelling down from Scotland for the week-end to step into my shoes. Favourite shopping destination (shop, street, city or country) East Grinstead of course. It has all I need. If you hadn’t gone into the jewellery trade, what career would you have chosen? I think I have been a jeweller for so long now I can’t imagine doing anything else. However, being a vet or a farmer sounds appealing, but then the grass is always greener… Quick fire (no deliberating, straight off the top of your head please) • Red or white wine? Red, but my favourite tipple is a pint of Harvey’s! • Football or cricket? (team?) Cricket. England • Diamonds or coloured stones? Diamonds • White or yellow metal? Yellow • TV or radio? Radio • Bentley or Roller? Bentley • Delegator or control freak? Control freak (so I am told!) • Fish and chips or Chinese/Indian? Indian • Beatles or Rolling Stones? Stones

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DIA THE

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